Whew! What a journey. Lots of html, css, epubcheck, mobi conversion and other various tech insanity have been happening in my world... In the last year or so I've managed to get all my e-ducks in a row for the new e-book version of "Chaos In Boxes," which should be seeping its way out to all the distributors in the next few days and weeks.
Quite a few things have been re-worded, several new Chapters and Appendices have been added, and the "enhanced" version (for iBooks only) features audio - that's right, 4 full-length songs have been added to the text! Yummy.
Here's a list of additions:
audio: Massive Solfeggio (enhanced version only)
audio: The Coin Song (enhanced version only)
audio: Fibonacci 21 (enhanced version only)
audio: Quasi-Palindromic Triangular Solfeggio Sequence (enhanced version only)
new Chapter: Audio Snippet Widget List (enhanced version only)
new Chapter: Solfeggio Beat Frequencies
new Chapter: Is Re The True Root of the Solfeggio?
new Chapter: Solfeggio Clef
new Chapter: The Modal Brightness Stars
new Chapter: Moon Modes
new Chapter: Related Material By The Authour
new Chapter: Colophon
new Appendix: BFF Beat Freqs Forever
new Appendix: The Coin Song
I'm gettin' anxious over here, can't wait for the e-book to drop! I actually think that, if you've read "Chaos In Boxes," you'll enjoy reading it even more the second time with this e-book version. Available soon.
Thursday, September 11, 2014
Wednesday, October 16, 2013
Free Preview #1 .PDF of Chaos In Boxes
There was a .pdf here but then I deleted it for some reason... Here's a link to it again:
It includes two of my favourite chapters, The Times-Table Mirror and The Modal Mirror.
Enjoy :)
Eureka! Modal Mirror Tetrachord Symetry [sp] Found
Eureka!
I'd previously thought that the Melodic Major Scale was equivalent to the bottom half of the Major Scale combined with the top half of the Minor Scale. In other words, Ionian bottom with Aeolian top. However, while pondering tetrachords, it just occurred to me... The Modal Mirror suggests that the Melodic Major's upper half comes from Phrygian, not Aeolian. The difference is not apparent in the interval spelling, of course, since both of their top halves are the same and the bottom half is being covered by Ionian. By extension, Melodic Major could also be seen as Mixolydian bottom, Aeolian top.
A natural extension of this observation is the following procedure: Here it is: From the Modal Mirror, combine the bottom half of each pair with the top half of its partner, and vice-versa. Yes! Another bona-fide legit musical structure unearthed for the benefit of all.
Eureka encore!
Details for each combo are here:
1,3 Ionian,Phrygian: R 2 3 4 5 b6 b7 8ve = WWHWHWW, a.k.a. Melodic Major
3,1 Phrygian,Ionian: R b2 b3 4 5 6 7 8ve = HWWWWWH, same as 7,4
4,7 Lydian,Locrian: R 2 3 #4/b5 b6 b7 8ve = WWWWWW, a.k.a. Whole-Tone Scale
7,4 Locrian,Lydian: R b2 b3 4 5 6 7 8ve = HWWWWWH, same as 3,1
5,6 Mixolydian,Aeolian R 2 3 4 5 b6 b7 8ve = WWHWHWW, a.k.a. Melodic Major
6,5 Aeolian,Mixolydian R 2 b3 4 5 6 b7 8ve = WHWWWHW, same as Dorian
2,2 Dorian,Dorian R 2 b3 4 5 6 b7 8ve = WHWWWHW, unchanged as Mirror surface
Some interesting developments indeed. There a couple of double occurrences, and a Wholetone scale appeared out of nowhere! The combination of Aeolian bottom with Mixolydian top, to become the same interval spelling as Dorian, harkens back to a prior notion from "Chaos In Boxes" that Mixolydian and Aeolian are the most closely related to Dorian by virtue of only one interval difference. Furthermore, this strengthened association hints toward the development of an expanded version of the Modal Mirror, one which positions each bottom-top mode combo in appropriate order, emanating from Dorian which is of course the center of the entire symetry. Of course, combo 6,5 is closest to 2,2 on the list, which looks like this:
2,2 - 6,5 - 5,6 - 1,3 - 3,1 - 7,4 - 4,7
and whose elements have the following quantities of interval difference from Dorian:
0 - 0 - 2 - 2 - 2 - 2 - 4
In this ordering system, wherever two Mode pairs have the same interval spelling (and therefore the same amount of interval difference from Dorian or "distance from centre"), the deciding factor becomes the interval contents of each constituent mode in its entirety as opposed to only the top or bottom half that got used in the combo. For example, 3 bottom, 1 top is the same as 7 bottom, 4 top; but modes 7 and 4 are each 3 intervals different from Dorian, whereas modes 1 and 3 each differ from Dorian by only 2 intervals, therefore 7,4 is further down the list than 3,1.
Notice that, since interval pairs appear consecutively on the combo list (ie, 6,5 is followed by 5,6, etcetera), it seems feasible and appropriate to re-order the original Modal Mirror according to each distance from Mode 2. The Modal Mirror has the Mode numbers 1 through 7 in consecutive order, arbitrarily clockwise, around the outside of the circle. The new ordering of the Modal Mirror would have Modes 5 and 6 closest to Mode 2, then Modes 1 and 3 further away, and then Modes 4 and 7 at the far side of the circle away from Dorian. Since the Modal Mirror itself does not distinguish or specify which element from each of its pairs takes precedence over the other in any way (that I can currently recall), the new combo list loses a dimension when interpolated or regressed back to the Modal Mirror. That is, the Modal Mirror does not provide a means of accommodating both 6,5 and 5,6. This could be accommodated by making further enhancement to the Modal Mirror. For example, turn the Dorian mirror line to become horizontal and specify that whichever Mode's bottom appears first in the combo list should be shown above the horizontal, and the other below.
Joining the re-ordered Mode numbers in numerical order generates an interesting-looking symmetrical curve.
(refer to culmination diagram)
Q.E.D.
I'd previously thought that the Melodic Major Scale was equivalent to the bottom half of the Major Scale combined with the top half of the Minor Scale. In other words, Ionian bottom with Aeolian top. However, while pondering tetrachords, it just occurred to me... The Modal Mirror suggests that the Melodic Major's upper half comes from Phrygian, not Aeolian. The difference is not apparent in the interval spelling, of course, since both of their top halves are the same and the bottom half is being covered by Ionian. By extension, Melodic Major could also be seen as Mixolydian bottom, Aeolian top.
A natural extension of this observation is the following procedure: Here it is: From the Modal Mirror, combine the bottom half of each pair with the top half of its partner, and vice-versa. Yes! Another bona-fide legit musical structure unearthed for the benefit of all.
Eureka encore!
Details for each combo are here:
1,3 Ionian,Phrygian: R 2 3 4 5 b6 b7 8ve = WWHWHWW, a.k.a. Melodic Major
3,1 Phrygian,Ionian: R b2 b3 4 5 6 7 8ve = HWWWWWH, same as 7,4
4,7 Lydian,Locrian: R 2 3 #4/b5 b6 b7 8ve = WWWWWW, a.k.a. Whole-Tone Scale
7,4 Locrian,Lydian: R b2 b3 4 5 6 7 8ve = HWWWWWH, same as 3,1
5,6 Mixolydian,Aeolian R 2 3 4 5 b6 b7 8ve = WWHWHWW, a.k.a. Melodic Major
6,5 Aeolian,Mixolydian R 2 b3 4 5 6 b7 8ve = WHWWWHW, same as Dorian
2,2 Dorian,Dorian R 2 b3 4 5 6 b7 8ve = WHWWWHW, unchanged as Mirror surface
Some interesting developments indeed. There a couple of double occurrences, and a Wholetone scale appeared out of nowhere! The combination of Aeolian bottom with Mixolydian top, to become the same interval spelling as Dorian, harkens back to a prior notion from "Chaos In Boxes" that Mixolydian and Aeolian are the most closely related to Dorian by virtue of only one interval difference. Furthermore, this strengthened association hints toward the development of an expanded version of the Modal Mirror, one which positions each bottom-top mode combo in appropriate order, emanating from Dorian which is of course the center of the entire symetry. Of course, combo 6,5 is closest to 2,2 on the list, which looks like this:
2,2 - 6,5 - 5,6 - 1,3 - 3,1 - 7,4 - 4,7
and whose elements have the following quantities of interval difference from Dorian:
0 - 0 - 2 - 2 - 2 - 2 - 4
In this ordering system, wherever two Mode pairs have the same interval spelling (and therefore the same amount of interval difference from Dorian or "distance from centre"), the deciding factor becomes the interval contents of each constituent mode in its entirety as opposed to only the top or bottom half that got used in the combo. For example, 3 bottom, 1 top is the same as 7 bottom, 4 top; but modes 7 and 4 are each 3 intervals different from Dorian, whereas modes 1 and 3 each differ from Dorian by only 2 intervals, therefore 7,4 is further down the list than 3,1.
Notice that, since interval pairs appear consecutively on the combo list (ie, 6,5 is followed by 5,6, etcetera), it seems feasible and appropriate to re-order the original Modal Mirror according to each distance from Mode 2. The Modal Mirror has the Mode numbers 1 through 7 in consecutive order, arbitrarily clockwise, around the outside of the circle. The new ordering of the Modal Mirror would have Modes 5 and 6 closest to Mode 2, then Modes 1 and 3 further away, and then Modes 4 and 7 at the far side of the circle away from Dorian. Since the Modal Mirror itself does not distinguish or specify which element from each of its pairs takes precedence over the other in any way (that I can currently recall), the new combo list loses a dimension when interpolated or regressed back to the Modal Mirror. That is, the Modal Mirror does not provide a means of accommodating both 6,5 and 5,6. This could be accommodated by making further enhancement to the Modal Mirror. For example, turn the Dorian mirror line to become horizontal and specify that whichever Mode's bottom appears first in the combo list should be shown above the horizontal, and the other below.
Joining the re-ordered Mode numbers in numerical order generates an interesting-looking symmetrical curve.
(refer to culmination diagram)
Q.E.D.
Saturday, March 24, 2012
Brainfart Gem Discovered While Editing
An e-book version of "Chaos In Boxes" is currently in the editing phase. While I was editing, a footnoted brainfart got a bit of exploration, and an exciting new observation is the result.
Ready?
Here it is:
QUESTION: What do you get when you subtract the Major Scale from the Chromatic Scale?
PROCEDURE: The C Major Scale contains the notes C, D, E, F, G, A, B. The Chromatic scale contains all of these, plus C#, D#, F#, G#, A#. Those notes make up the F# Major Pentatonic Scale.
ANSWER: the Chromatic Scale minus any chosen Major Scale results in the Major Pentatonic Scale whose root is a tritone away from the root of the chosen Major Scale.
At the risk of attracting ridicule from the establishment, I'm sticking my chest out real far while putting a big old "Quod Erat Demonstrandum" on this document.
Q.E.D.
Booyah, baby!
Sean Luciw,
authour, "Chaos In Boxes: twisted adventures in music theory"
Ready?
Here it is:
QUESTION: What do you get when you subtract the Major Scale from the Chromatic Scale?
PROCEDURE: The C Major Scale contains the notes C, D, E, F, G, A, B. The Chromatic scale contains all of these, plus C#, D#, F#, G#, A#. Those notes make up the F# Major Pentatonic Scale.
ANSWER: the Chromatic Scale minus any chosen Major Scale results in the Major Pentatonic Scale whose root is a tritone away from the root of the chosen Major Scale.
At the risk of attracting ridicule from the establishment, I'm sticking my chest out real far while putting a big old "Quod Erat Demonstrandum" on this document.
Q.E.D.
Booyah, baby!
Sean Luciw,
authour, "Chaos In Boxes: twisted adventures in music theory"
Saturday, January 21, 2012
Ancient Solfeggio Synth VSTi
I've created a VSTi synthesizer which specializes in
producing the Ancient Solfeggio frequencies. It's
available for download here:
The synth is FREEWARE, but if you feel inspired
to do so, you can click the Donation button, submit
a testimonial, or check out some of my musical
projects.
On a related topic, I have Ancient Solfeggio Tone
music available for purchase at:
Happy music making everyone!
Sean
Thursday, January 5, 2012
Ancient Solfeggio Tones Volume 1
In Section V of my book "Chaos In Boxes" I explore
the Ancient Solfeggio Tones at great length, using
various diagrams and a healthy mixture of vertical
thinking (ie. cold logic) and lateral thinking (ie. creativity)...
where I discovered, for example, the presence of
The Golden Mean. These are ideas presented on a
printed page.
I am now pleased to announce the availability of
real Solfeggio music, available for download and on
hardcopy. Each tone is presented in a multilayered,
multi-octave texture, generated electronically
in a style which is aesthetically similar to didjeridoos or
crystal bowls for a lush meditative experience. Enjoyable
at low or high volume, in the background or as part of
an immersive experience.
Go to the page on my website which includes a list of
links, or go directly to iTunes.
the Ancient Solfeggio Tones at great length, using
various diagrams and a healthy mixture of vertical
thinking (ie. cold logic) and lateral thinking (ie. creativity)...
where I discovered, for example, the presence of
The Golden Mean. These are ideas presented on a
printed page.
I am now pleased to announce the availability of
real Solfeggio music, available for download and on
hardcopy. Each tone is presented in a multilayered,
multi-octave texture, generated electronically
in a style which is aesthetically similar to didjeridoos or
crystal bowls for a lush meditative experience. Enjoyable
at low or high volume, in the background or as part of
an immersive experience.
Go to the page on my website which includes a list of
links, or go directly to iTunes.
Friday, December 30, 2011
365 degrees, not 100
The temperature range from water's freezing point to
its boiling point should be sectioned into some
number of degrees other than 100. I say this because
the Celcius equivalent of 0 degrees Kelvin is -273.15,
which seems like a meaningless number, lacking beauty
and symmetry, like maybe there's a smoother fit to be
found - some number that reflects the underlying
numerical perfection of the universe. I thought the
number of days in a year might be a good place to
start. So, 365.256363004 (the number of days in Earth's
year), multiplied by 2.7315 (absolute zero's
proportionate temperature below freezing compared
to boiling), results in a new value of -997.6977555454
degrees for absolute zero. This may not look any more
elegant or symmetrical than 273.15, until you notice
that it's quite close to 999.999, or 1000.
Why bring a time-related number into a question of
temperature, you ask? Okay, I admit - proclaim, even -
lateral thinking may have snuck into my idea here, as
it often does.
Well, there it is, my latest product of so-called
insomnia.
(for entertainment purposes only?)
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