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