David Bond

This manuscript contains several melodies that were part of the discussion on Transformative Melodic Improvisation. The melodies can be performed simulataneously or in any combination chosed by the performers. They cycle with a variety of rhythmic variations and intersect, lock an unlock over a lengthy period of time. The color fields from the original pieces in the previous discussion may also be used at the discretion of the performers. The melodies themselves can be performed transposed or non-transposed by the performers. All of this is toward melodic invention in multiple fashions.

Melodic Examples for Transformative Melodic Improvisation

This manuscript contains several melodies that were part of the discussion on Transformative Melodic Improvisation.
The melodies can be performed simultaneously or in any combination chosen by the performers.
They cycle with a variety of rhythmic variations and intersect, lock an unlock over a lengthy period of time.
The color fields from the original pieces in the previous discussion may also be used at the discretion of the performers.
The melodies themselves can be performed transposed or non-transposed by the performers.
All of  this is toward melodic invention in multiple fashions.

This manuscript contains several melodies that were part of the discussion on Transformative Melodic Improvisation.
The melodies can be performed simultaneously or in any combination chosen by the performers.
They cycle with a variety of rhythmic variations and intersect, lock and unlock over a lengthy period of time. The color fields from the original pieces in the previous discussion may also be used at the discretion of the performers.
The melodies themselves can be performed transposed or non-transposed by the performers.
All of this is toward melodic invention in multiple fashions.

This manuscript is a combination of the melodies found in the previous discussion of Transformative Melodic Improvisation.
The melodies can be performed simultaneously or in any combination chosen by the performers.
The color fields of each melody found in the prior discussion can also be included.
The rhythmic length varies among the melodies which cycle and lock and interlock over various lengths of time.
The melodies can be performed transposed or non-transposed.

These examples can be performed freely as chosen by the musicians.
The Melodic Lines example shows all Melodies on score.
These can all be played simultaneously or in any combination.
Transposed or non-transposed.
Color fields from the original melodic scores in the original previous discussion can be used also.
These melodies will cycle at different rhythmic lengths and will lock and interlock over long periods of time.

MODULAR DYNAMICS - MUSIC OF THE UNIVERSE
Part 2

Natural Order
Unique Independent Voices in Balance
The Inteconnected line that threads through each of us
Momentary Images in the Flow of the Continuum

Modular Dynamics
Individual motifs, lines, and ideas existing as independent
modules. Developing dynamically with each other to create
free and evolving permutations The permutations become
polytonal, polyphonic, polymetric, and polyrhythmic

Evolving into a larger module of independence and interdependence
Co-existing in an all inclusive sound field which shifts through impermanent improvised cycles
Visually, this has been represented by Paul Klee's "Twittering Machine"
Rhythmically, meters shift and overlap, including odd and
even metric structures. Variable time signatures
Length of phrasing and form evolves over time and may
resolve after many minutes
Auditorily, examples appear in the music of Bali and elsewhere.

Aspects of Sound

At times, music composition and notation is intended to be performed as it is written or within the interpretation of a composer's so called intent.
That will not be the case here.
Here music composition and notation is presented as a guide to be used to develop,  expand, develop and improvise upon. To enable musicians to expand their personal sound and sound creations
My interests are in musicians producing sound in an  unencumbered fashion, freely and naturally.
These are musical ideas which allow musicians to have a unique individual voice  among others.  That can exist independently or interdependently among other unique voices. 
Each musician is given a melodic or rhythmic line. They can express and adhere strictly to the line or can interpret it with
any degree of latitude. To become one with their line/voice. All of the given musical lines/voices will appear at various  moments in time.
At times, all will appear layered upon one another = Sound Density
The degree of density, or mass, varies and shifts throughout the composition
= Sound Performance/Expression


There are many ideas existing in the universe
I come from a humble place offering some ideas that others may use and add to or not
The joy of musical creation and personal expression is from unique persons which  we are all
There are multiple approaches to this journey, experience, reality
From concrete strictures or none
And all possibilities in between

Fresh Fashion of Sound

Fluid Movement of Spread and Stacked Infinite Musical lines
Gradual Layering and Development of Particular, Distinct Sensibilities
Transposed, Non-Transposed

Sound Currents - Sound Mass

Stacked layers of Melodic Lines create Harmonic Colors that Blend, Integrate, and Interact 
Sound Formations - Glaciers, Currents, Movement
Mass of Sound Together Achieves a New Recognition
Sound Currents - Mass
Modules Interacting - Modular Dynamics
Continuously evolving and varying.
The sound moves fluidly at varying speeds. 
At times the movement and length is uniform within the melody, harmony, and  rhythm.

Shifting Tonal Centers

At times, the movement and length varies. At other times, they all sound spontaneously as determined by the performers.
The musicians perform transposed lines and tones at times. At other times, some or all of the musicians perform non-transposed lines/tones

Harmonic Colors

Harmony and harmonic colors are created by the combinations of layered melodic lines as they are sounded
Colors enhance the melodic contour
Color motion is tied to the melodic line
Tonal centers shift according to the  sound layer 
Harmony and harmonic colors are created by the combinations of these melodic  lines as they are sounded.


David S. Bond
Copyright © 2020 by David S. Bond All rights reserved, including the right of reproduction in whole or in part in any form.

Modular Dynamics  - Music of the Universe

A Practical Method Toward Creativity and Personal Expression Through Music

These are musical ideas which allow musicians to have a unique individual voice among others.

This voice can exist independently or interdependently among other unique voices.

Basically, each musician has a given melodic or rhythmic line.

They can express and adhere strictly to the line or can interpret it with any degree of latitude.

To become one with their line/voice.

Compositionally, all of the given musical lines/voices will appear at various moments in time.

At times, all will appear layered upon one another =Sound Density.

Sound Density is created by the layering of these melodic lines.

The degree of density, or mass, varies and shifts throughout the composition

=Sound Performance/Expression.


MODULAR DYNAMICS

Individual motifs, lines, and ideas existing as independent modules.

Developing dynamically with each other to create free and evolving permutations

The permutations become polytonal, polyphonic, polymetric, and polyrhythmic

Evolving into a larger module of independence and interdependence

Co-existing in an all inclusive sound field which shifts through impermanent improvised cycles

Visually, this has been represented by Paul Klee's "Twittering Machine"

Rhythmically, meters shift and overlap, including odd and even metric structures.

Variable time signatures

Length of phrasing and form evolves over time and may resolve after many minutes

Auditorily, examples appear in the music of Bali and elsewhere


Artist's Statement

Aspects of Sound

At times, music composition and notation is intended to be performed as it is written or within the interpretation of a composer's so called intent.

That will not be the case in the following pages.

Here music composition and notation is presented as a guide to be used to develop, expand, and improvise upon.

Sound occurs and is shaped by the environment around it

From Nature

Animals, people, organisms, and objects

I am interested in all of it

In these writings, my interests are in musicians producing sound in an
unencumbered fashion

Freely and naturally

These interests are in musicians who are developed and proficient

Who are open to expanding their personal sound and sound creations
Toward a natural, unencumbered space/place

My ideas are only that

There are many ideas existing in the universe

I come from a humble place offering some ideas that others may use and add to

Or not

The joy of musical creation and personal expression from unique persons which we are all

There are multiple approaches to this journey, experience, reality

From concrete strictures or none

And all possibilities in between

For the past fifty years, I have been actively involved in musical improvisation. The impetus for my pursuit is rooted in the inspiration of several improvisers, specifically John Coltrane and Ornette Coleman. Given the opportunity to explore music in the academic community, I have chosen to acquire a more in depth understanding of musical improvisation world--wide.

The purpose of the following report on my research is to clarify and solidify some of this knowledge, for me personally, and to apply it specifically to sound recordings of existing improvisations. This application illustrates the use of specific musical concepts found in the practice of improvisation, such as the expansion, reworking, and development of a melodic line.

                                                                                      PREFACE

This research explores various ideas and approaches to improvisation with a focus on melody, pitch, and tone quality. It will be divided into an introduction and three chapters.

The introduction presents thoughts and opinions on musical improvisation as put forth by several noteworthy ethnomusicologists and musicologists, including Motivic development, oral tradition, speech and language tones. The purpose of this section is to provide the reader with basic information regarding improvisation, which can be applied to the following chapters of this research.

Chapter one presents a synopsis of the musical background and development of the composers/performers Lester Young, Lee Konitz, and Ornette Coleman. I have chosen these three musicians because of their emphasis on melody and melodic development, which is a major interest of study for me.

It is my opinion that many  comparisons can be made between the approaches of these three improvisers, and my contention that Young, Konitz, and Coleman  developed from a similar musical tradition.

Konitz and Coleman have both been influenced by Lester Young's concept, each in their own way. Konitz's style is directly descended from Young in terms of melodic and harmonic development, and Coleman's approach to melodic development has many similarities to Young's, even though his concept of harmony and form departs a great deal from the more traditional style.

The second chapter presents notation of the three approaches to improvisation by these composers/performers. An analysis of one recorded example of an improvisation by each composer/performer serves as the source from which comparisons, contrasts, and conclusions are drawn regarding each individual's approach to improvisation. This analysis focuses on how Young, Konitz, and Coleman utilize and develop the musical concepts and features presented in chapter one.

I have chosen these three particular improvisations because they clearly illustrate melodic phrasing and development, and motivic improvisation.









                                                                            ACKNOWLEDGEMENTS

I would like to thank Professor David Locke…. for his unfailing support of my study and research at Tufts University. His role as ethnomusicologist, musician, professor, and adviser have been extremely valuable to my musical growth and learning.

I would also like to thank master musicians Mr. Dewey Redman, Mr. John McDonald, Mr. Archie Shepp, Mr. Jimmy Giuffre, and Mr. Lee Konitz for the knowledge and expertise they offered to me in their roles as teacher and mentor. My thanks especially to Dewey Redman who, in addition, has been a personal and supportive friend through the rough and magical times over the years, and a guiding star for me.

FREEING MELODY

Improvisation and Composition in the work of Lester Young, Lee Konitz, and Ornette Coleman


                              David S. Bond



For the past fifty years, I have been actively involved in musical improvisation. The impetus for my pursuit is rooted in the inspiration of several improvisers, specifically John Coltrane and Ornette Coleman. Given the opportunity to explore music in the academic community, I have chosen to acquire a more in depth understanding of musical improvisation world--wide.

The purpose of the following report on my research is to clarify and solidify some of this knowledge, for me personally, and to apply it specifically to sound recordings of existing improvisations. This application illustrates the use of specific musical concepts found in the practice of improvisation, such as the expansion, reworking, and development of a melodic line.

                                PREFACE

This research explores various ideas and approaches to improvisation with a focus on melody, pitch, and tone quality. It will be divided into an introduction and three chapters.

The introduction presents thoughts and opinions on musical improvisation as put forth by several noteworthy ethnomusicologists and musicologists, including Motivic development, oral tradition, speech and language tones. The purpose of this section is to provide the reader with basic information regarding improvisation, which can be applied to the following chapters of this research.

Chapter one presents a synopsis of the musical background and development of the composers/performers Lester Young, Lee Konitz, and Ornette Coleman. I have chosen these three musicians because of their emphasis on melody and melodic development, which is a major interest of study for me.

It is my opinion that many  comparisons can be made between the approaches of these three improvisers, and my contention that Young, Konitz, and Coleman  developed from a similar musical tradition.

Konitz and Coleman have both been influenced by Lester Young's concept, each in their own way. Konitz's style is directly descended from Young in terms of melodic and harmonic development, and Coleman's approach to melodic development has many similarities to Young's, even though his concept of harmony and form departs a great deal from the more traditional style.

The second chapter presents notation of the three approaches to improvisation by these composers/performers. An analysis of one recorded example of an improvisation by each composer/performer serves as the source from which comparisons, contrasts, and conclusions are drawn regarding each individual's approach to improvisation. This analysis focuses on how Young, Konitz, and Coleman utilize and develop the musical concepts and features presented in chapter one.

I have chosen these three particular improvisations because they clearly illustrate melodic phrasing and development, and motivic improvisation.









                                                                            A
                      ACKNOWLEDGEMENTS

I would like to thank Professor David Locke…. for his unfailing support of my study and research at Tufts University. His role as ethnomusicologist, musician, professor, and adviser have been extremely valuable to my musical growth and learning.

I would also like to thank master musicians Mr. Dewey Redman, Mr. John McDonald, Mr. Archie Shepp, Mr. Jimmy Giuffre, and Mr. Lee Konitz for the knowledge and expertise they offered to me in their roles as teacher and mentor. My thanks especially to Dewey Redman who, in addition, has been a personal and supportive friend through the rough and magical times over the years, and a guiding star for me.

FREEING MELODY

Improvisation and Composition in the work of Lester Young, Lee Konitz, and Ornette Coleman


                            David S. Bond



For the past fifty years, I have been actively involved in musical improvisation. The impetus for my pursuit is rooted in the inspiration of several improvisers, specifically John Coltrane and Ornette Coleman. Given the opportunity to explore music in the academic community, I have chosen to acquire a more in depth understanding of musical improvisation world--wide.

The purpose of the following report on my research is to clarify and solidify some of this knowledge, for me personally, and to apply it specifically to sound recordings of existing improvisations. This application illustrates the use of specific musical concepts found in the practice of improvisation, such as the expansion, reworking, and development of a melodic line.

                                  PREFACE

This research explores various ideas and approaches to improvisation with a focus on melody, pitch, and tone quality. It will be divided into an introduction and three chapters.

The introduction presents thoughts and opinions on musical improvisation as put forth by several noteworthy ethnomusicologists and musicologists, including Motivic development, oral tradition, speech and language tones. The purpose of this section is to provide the reader with basic information regarding improvisation, which can be applied to the following chapters of this research.

Chapter one presents a synopsis of the musical background and development of the composers/performers Lester Young, Lee Konitz, and Ornette Coleman. I have chosen these three musicians because of their emphasis on melody and melodic development, which is a major interest of study for me.
It is my opinion that many  comparisons can be made between the approaches of these three improvisers, and my contention that Young, Konitz, and Coleman  developed from a similar musical tradition.
Konitz and Coleman have both been influenced by Lester Young's concept, each in their own way. Konitz's style is directly descended from Young in terms of melodic and harmonic development, and Coleman's approach to melodic development has many similarities to Young's, even though his concept of harmony and form departs a great deal from the more traditional style.

The second chapter presents notation of the three approaches to improvisation by these composers/performers. An analysis of one recorded example of an improvisation by each composer/performer serves as the source from which comparisons, contrasts, and conclusions are drawn regarding each individual's approach to improvisation. This analysis focuses on how Young, Konitz, and Coleman utilize and develop the musical concepts and features presented in chapter one.
I have chosen these three particular improvisations because they clearly illustrate melodic phrasing and development, and motivic improvisation.









                        ACKNOWLEDGEMENTS

I would like to thank Professor David Locke…. for his unfailing support of my study and research at Tufts University. His role as ethnomusicologist, musician, professor, and adviser have been extremely valuable to my musical growth and learning.

I would also like to thank master musicians Mr. Dewey Redman, Mr. John McDonald, Mr. Archie Shepp, Mr. Jimmy Giuffre, and Mr. Lee Konitz for the knowledge and expertise they offered to me in their roles as teacher and mentor. My thanks especially to Dewey Redman who, in addition, has been a personal and supportive friend through the rough and magical times over the years, and a guiding star for me.

For the past fifty years, I have been actively involved in musical improvisation. The impetus for my pursuit is rooted in the inspiration of several improvisers, specifically John Coltrane and Ornette Coleman. Given the opportunity to explore music in the academic community, I have chosen to acquire a more in depth understanding of musical improvisation world--wide.

The purpose of the following report on my research is to clarify and solidify some of this knowledge, for me personally, and to apply it specifically to sound recordings of existing improvisations. This application illustrates the use of specific musical concepts found in the practice of improvisation, such as the expansion, reworking, and development of a melodic line.




PREFACE

This research explores various ideas and approaches to improvisation with a focus on melody, pitch, and tone quality. It will be divided into an introduction and three chapters. The introduction presents thoughts and opinions on musical improvisation as put forth by several noteworthy ethnomusicologists and musicologists, including Motivic development, oral tradition, speech and language tones. The purpose of this section is to provide the reader with basic information regarding improvisation, which can be applied to the following chapters of this research.



Chapter one presents a synopsis of the musical background and development of the composers/performers Lester Young, Lee Konitz, and Ornette Coleman. I have chosen these three musicians because of their emphasis on melody and melodic development, which is a major interest of study for me.

It is my opinion that many  comparisons can be made between the approaches of these three improvisers, and my contention that Young, Konitz, and Coleman  developed from a similar musical tradition.

Konitz and Coleman have both been influenced by Lester Young's concept, each in their own way. Konitz's style is directly descended from Young in terms of melodic and harmonic development, and Coleman's approach to melodic development has many similarities to Young's, even though his concept of harmony and form departs a great deal from the more traditional style.

The second chapter presents notation of the three approaches to improvisation by these composers/performers. An analysis of one recorded example of an improvisation by each composer/performer serves as the source from which comparisons, contrasts, and conclusions are drawn regarding each individual's approach to improvisation. This analysis focuses on how Young, Konitz, and Coleman utilize and develop the musical concepts and features presented in chapter one.

I have chosen these three particular improvisations because they clearly illustrate melodic phrasing and development, and motivic improvisation.



















ACKNOWLEDGEMENTS



I would like to thank Professor David Locke…. for his unfailing support of my study and research at Tufts University. His role as ethnomusicologist, musician, professor, and adviser have been extremely valuable to my musical growth and learning.

I would also like to thank master musicians Mr. Dewey Redman, Mr. John McDonald, Mr. Archie Shepp, Mr. Jimmy Giuffre, and Mr. Lee Konitz for the knowledge and expertise they offered to me in their roles as teacher and mentor. My thanks especially to Dewey Redman who, in addition, has been a personal and supportive friend through the rough and magical times over the years, and a guiding star for me.

FREEING MELODY

Improvisation and Composition in the work of Lester Young, Lee Konitz, and Ornette Coleman

David S. Bond




ABSTRACT

For the past fifty years, I have been actively involved in musical improvisation. The impetus for my pursuit is rooted in the inspiration of several improvisers in Afro-American music, specifically John Coltrane and Ornette Coleman. Given the opportunity to explore music in the academic community, I have chosen to acquire a more in depth understanding of musical improvisation world--wide.

The purpose of the following report on my research is to clarify and solidify some of this knowledge, for me personally, and to apply it specifically to sound recordings of existing improvisations. This application illustrates the use of specific musical concepts found in the practice of improvisation, such as the expansion, reworking, and development of a melodic line.

This research explores various ideas and approaches to improvisation in African-American music with a focus on melody, pitch, and tone quality. It will be divided into an introduction and three chapters.The introduction presents thoughts and opinions on musical improvisation as put forth by several noteworthy ethnomusicologists and musicologists. This section also includes musical features found in African-American music and those found in select music--cultures of the world. Motivic development, oral tradition, speech and language tones, and theme and variations are a few of the concepts and features presented in this section, along with the African influence on jazz improvisation, as noted by Gunther Schuller. The purpose of this section is to provide the reader with basic information regarding improvisation, which can be applied to the following chapters of this research.

Chapter one presents a synopsis of the musical background and development of the
composers/performers Lester Young, Lee Konitz, and Ornette Coleman. I have
chosen these three musicians because of their emphasis on melody and melodic
development, which is a major interest of study for me.

Personal and stylistic characteristics are pointed out regarding each of these individual's approaches to improvisation. Similarities between their approaches are also noted.

It is my opinion that many  comparisons can be made between the approaches of these three improvisers, and my contention that Young, Konitz, and i  developed from a similar musical tradition.

Konitz and Coleman have both been influenced by Lester Young's concept, each in their own way. Konitz's style is directly descended from Young in terms of melodic and harmonic development, and Coleman's approach to melodic development has many similarities to Young's, even though his concept of harmony and form departs a great deal from the more traditional style.

The second chapter presents notation of the three approaches to improvisation by
these composer/performers. An analysis of one recorded example of an improvisation
by each composer/performer serves as the source from which comparisons,
contrasts, and conclusions are drawn regarding each individual's approach to
improvisation.

This analysis focuses on how Young, Konitz, and Coleman utilize and develop the
musical concepts and features presented in chapter one.

I have chosen these three particular improvisations because they clearly illustrate
melodic phrasing and development, and motivic improvisation.

In addition, the ideas found in each are rooted in several basic characteristics found
in African-American improvisation: a focus on improvising within the
conventions of a particular style, vocal and expressive techniques such as blue notes, vibrato, glissandos, and sub-tones, and a striving toward an individuality in tone color and style.

Two major areas are addressed here: (1) melodic invention and phrasing, and (2) primary and secondary linking tones in motivic development.

This manuscript contains several melodies that were part of the discussion on Transformative Melodic Improvisation. The melodies can be performed simultaneously or in any combination chosen by the performers. They cycle with a variety of rhythmic variations and intersect, lock an unlock over a lengthy period of time. The color fields from the original pieces in the previous discussion may also be used at the discretion of the performers. The melodies themselves can be performed transposed or non-transposed by the performers. All of this is toward melodic invention in multiple fashions.

Transformative Melodic Improvisation

The emphasis is on expansiveness in improvising. The melody of the song is taken as the guide. The tones of the melody can develop into other melodies that may include a 7-10 tone scale during improvisation. And at times 11 and all 12 tones within the Western system. Beyond that 1/4 tones could be included,  but that's not the main point here.

The tones of the original melody are taken and stacked or layered in intervals of 3rds and 4ths to develop the harmonic color field of the song.
I use the term color field to define what is usually called harmony. Color field is the actual sound space created by the combination of moving 3rds and 4ths.
This layering is developed in as many variations as possible.

This approach allows expansiveness and openness in the harmonic color field for improvisation.
In addition, any grouping of these harmonic layers can be played at any time and the improviser is free to develop within and above that color field .
Since all of the original tones of the melody are contained in the color field, the improviser is free to play whatever they choose to at any time. And develop new expansive melodies.
There need not be any defined structure, but the original melody can be played over the color field in a directly stated fashion and then improvised upon.
But this is not needed unless the performers choose to.
Obviously, structure develops on its own even if performers improvise simultaneously.
That is not a concern here.
The point being expansive improvisation based on the few guidelines presented here.
Performers are free to choose whatever route or fashion they prefer.





And Thoughts on Musical Improvisation - The Unforseen
The Latin word "improvisus" is the root of improvisation, meaning the "unforseen" or "unexpected". Musicologists and historians have noted that improvisation has played a role in music since classical Greece.
The process of improvisation can be considered one of the universals of music which all cultures share in one way or another.
According to E.T. Ferrand, there is not a single field in music that is unaffected by improvisation.
Every musical technique or form of composition is ultimately rooted in improvisation.
In many non-Western cultures, improvisation is looked upon as a creative act. In Persia importance is given to never repeating a previously stated idea within the context of improvising during a performance. The tasquim style of music, found in Turkey, is closely related to this same idea. This style is a non-metric, instrumental approach to music, also with an emphasis on not repeating improvisational ideas.
Improvisations, including variations on a theme, are common throughout Africa. In South and West Asian music, the improviser uses a melodic motif with repetition, variation, and melodic sequence. In India , for example, the opening alspana section of a raga is improvised
"Improvisation is present to some degree in most styles, since African music is created and transmitted in an oral culture." (Improvisation in West African Musics, David Locke, Music Educators Journal, Vol. 66, No. 5, (Jan., 1980), p.128.)
African melodies tend to shift around a central tone, as pointed out by Schuller.
Sargaent refers to this shifting in African music as "harmonic ambivalence", revolving around the central tone in place of a key center, as found in Western music.
This ambivalence allows for a degree of melodic freedom, which has been explored and developed by Ornette Coleman. Coleman applies this technique to his own concept of "harmolodics", which contains freely shifting tonal centers.
Improvisation is important in many music-cultures present in the world today.
Pitch variation and shifting tonal centers are features that have been shown to be rooted in an oral tradition in Africa and elsewhere.
"The improvisation of many lines at the same time is a typically African concept, and is perpetuated in most forms of early jazz..." (Schuller, Gunther (1968). Early Jazz: Its Roots and Musical Development. New York: Oxford University Press, p. 57).

MODULAR DYNAMICS - MUSIC OF THE UNIVERSE
Part 2

Natural Order
Unique Independent Voices in Balance
The Inteconnected line that threads through each of us
Momentary Images in the Flow of the Continuum

Modular Dynamics

Individual motifs, lines, and ideas existing as independent
modules. Developing dynamically with each other to create
free and evolving permutations The permutations become
polytonal, polyphonic, polymetric, and polyrhythmic

Evolving into a larger module of independence and interdependence
Co-existing in an all inclusive sound field which shifts through impermanent improvised cycles
Visually, this has been represented by Paul Klee's "Twittering Machine"
Rhythmically, meters shift and overlap, including odd and
even metric structures. Variable time signatures
Length of phrasing and form evolves over time and may
resolve after many minutes
Auditorily, examples appear in the music of Bali and elsewhere.

Aspects of Sound

At times, music composition and notation is intended to be performed as it is written or within the interpretation of a composer's so called intent.
That will not be the case here.
Here music composition and notation is presented as a guide to be used to develop,  expand, develop and improvise upon. To enable musicians to expand their personal sound and sound creations
My interests are in musicians producing sound in an  unencumbered fashion, freely and naturally.
These are musical ideas which allow musicians to have a unique individual voice  among others.  That can exist independently or interdependently among other unique voices. 
Each musician is given a melodic or rhythmic line. They can express and adhere strictly to the line or can interpret it with
any degree of latitude. To become one with their line/voice. All of the given musical lines/voices will appear at various  moments in time.
At times, all will appear layered upon one another = Sound Density
The degree of density, or mass, varies and shifts throughout the composition
= Sound Performance/Expression


There are many ideas existing in the universe
I come from a humble place offering some ideas that others may use and add to or not
The joy of musical creation and personal expression is from unique persons which  we are all
There are multiple approaches to this journey, experience, reality
From concrete strictures or none
And all possibilities in between

Fresh Fashion of Sound

Fluid Movement of Spread and Stacked Infinite Musical lines
Gradual Layering and Development of Particular, Distinct Sensibilities
Transposed, Non-Transposed

Sound Currents - Sound Mass

Stacked layers of Melodic Lines create Harmonic Colors that Blend, Integrate, and Interact 
Sound Formations - Glaciers, Currents, Movement
Mass of Sound Together Achieves a New Recognition
Sound Currents - Mass
Modules Interacting - Modular Dynamics
Continuously evolving and varying.
The sound moves fluidly at varying speeds. 
At times the movement and length is uniform within the melody, harmony, and  rhythm.

Shifting Tonal Centers

At times, the movement and length varies. At other times, they all sound spontaneously as determined by the performers.
The musicians perform transposed lines and tones at times. At other times, some or all of the musicians perform non-transposed lines/tones

Harmonic Colors

Harmony and harmonic colors are created by the combinations of layered melodic lines as they are sounded
Colors enhance the melodic contour
Color motion is tied to the melodic line
Tonal centers shift according to the  sound layer 
Harmony and harmonic colors are created by the combinations of these melodic  lines as they are sounded.


David S. Bond
Copyright © 2020 by David S. Bond All rights reserved, including the right of reproduction in whole or in part in any form.