The Neuroscience of Bass: New Study Explains Why Bass Instruments Are Fundamental to Music. Photo by Sebastiaan term Burg via Wikimedia Commons At the lower range of hearing, it’s said humans can hear sound down to about 20 Hz, beneath which we encounter a murky sonic realm called “infrasound,” the world of elephant and mole hearing.
But while we may not hear those lowest frequencies, we feel them in our bodies, as we do many sounds in the lower frequency ranges—those that tend to disappear when pumped through tinny earbuds or shopping mall speakers. Since bass sounds don’t reach our ears with the same excited energy as the high frequency sounds of, say, trumpets or wailing guitars, we’ve tended to dismiss the instruments—and players—who hold down the low end (know any famous tuba players?).
In most popular music, bass players don’t get nearly enough credit—even when the bass provides a song’s essential hook. As Led Zeppelin’s John Paul Jones joked at his Rock and Roll Hall of Fame induction ceremony in 1995, “thank you to my friends for remembering my phone number.”
How to Listen to Music: A Vintage Guide to the 7 Essential Skills. By Maria Popova “Respond esthetically to all sounds, from the hum of the refrigerator motor or the paddling of oars on a lake, to the tones of a cello or muted trumpet.”
Music has a powerful grip on our emotional brain. It can breathe new life into seemingly lifeless minds. But if there is indeed no music instinct, music — not just its creation, but also its consumption — must be an acquired skill. How, then, do we “learn” music beyond merely understanding how it works? From the wonderful vintage book Music: Ways of Listening, originally published in 1982, comes this outline of the seven essential skills of perceptive listening, which author and composer Elliott Schwartz argues have been “dulled by our built-in twentieth-century habit of tuning out” and thus need to be actively developed. Develop your sensitivity to music. Donating = Loving Bringing you (ad-free) Brain Pickings takes hundreds of hours each month.
You can also become a one-time patron with a single donation in any amount: Developing a vivid aural imagination. The extent to which your aural imagination is developed, largely determines: the quality of lines you play, how you play those lines (articulation, swing feel, inflection), and the sound you play with.
Nothing has such an impact on your playing than your aural imagination. If there were a secret to improvising, developing your aural imagination would be it. Ok, ok. I didn’t say oral imagination. THE MOZART EFFECT … AND BEYOND. BABBITT EFFECT: Child gibbers nonsense all the time.
Eventually, people stop listening to him. Child doesn't care because all his playmates think he's cool. BARTÓK EFFECT: Child becomes more and more dissonant. Has trouble maintaining harmony with his peers. Anedonia musicale: questione di ridotta connettività cerebrale. György ligeti’s artikulation (with score and audio) – The Hum Blog. The A=432 Hz Frequency: DNA Tuning and the Bastardization of Music. Brendan D.
Murphy, Guest GA=440Hz: Not Quite Music to My Ears Humankind is the largely unwitting victim of a frequency war on our consciousness that has been waged for decades, if not millennia. The goal has clearly been to keep us as gullible and subservient as possible, through multifarious means. In modern history in particular, there has been what Dr. The American Federation of Musicians had already accepted the A440 as standard pitch in 1917, and the U.S. government followed suit in 1920. It is interesting, also, to note that in October 1953, despite the British and Nazi push for the arbitrary A=440 standard (which is “disharmonic” vis à vis the physico-acoustic laws of creation governing reality), a referendum of 23,000 French musicians voted overwhelmingly in favour of A=432Hz.
The Vibration of Sound. Fibonacci dans l'harmonie - La musique décodée. Boucles de rétroaction et les rythmes de la nature - Anje-Margriet Neutel. Ear training online and mobile. Ear Trainer. MusicalMind.org Ear Training Online. Free ear training tools for musicians. Jazz Ear Training - Master Your Intervals in 28 Days.
Being able to quickly hear, sing, and accurately identify intervals is essential to developing your improvisational ear.
In this article, I’ve put together a plan for you to master your intervals in 28 days. For beginners, this will give you a much needed foundation. And for more advanced players, it will give you a chance to brush up on your intervals and fill in any gaps that might be there. The goal is to be so familiar with these sounds, that it requires very little effort to process them. You can never know this stuff too well! Getting acquainted with the intervals One of the best ways to get familiar with all of the intervals is to find a tune you already know that makes use of each one.
Minor Second Ascending Gene Ammons on I remember You, Miles on Bye Bye Blackbird, & Sinatra on Nice Work If You Can Get It Minor Second Descending Major Second Ascending I’m assuming you know Happy Birthday. Major Second Descending Miles on Freddie Freeloader Minor Third Ascending.