In fact systems like this have been in use for many hundreds of years in Indian music (where it is called Bol) in Japan (where it is called kuchi shoga) and in African music. This idea is not new and it is certainly not confined to Kodály teaching. When used consistently, students develop the ability to aurally decode complex rhythmic patterns with ease and to sight-read rhythm patterns quickly. Using the rhythm syllable method, rhythmic patterns commonly occurring in Western European music are given a particular name that aids in their reading, writing. Rhythm syllables are a tool for teaching and internalising rhythm. With older students it is often a good idea to try a variety of ways and let them decide which is most comfortable for them. Sometimes, older students can also benefit from using both hands in the early stages, later reverting to single hands. With smaller children, it may be best to have them use both hands, particularly if they are lacking in motor co-ordination. One hand or both hands (mirror image) may perform the hand signs. Hand signs are performed in front of the body and in line with the centre of the body. Hand signs are also extremely useful for advanced work – particularly when building harmonic awareness. Hand signs have time and again been shown to improve student intonation and pitch accuracy, particularly in the early stages of instruction. Hand signs allow the teacher to see what the student is thinking especially when the classroom sound might be masking this. Hand signs are effective as a musical teaching tool because they visually and kinesthetically reinforce the high/low sounds and the intervallic relationships between the pitches being sung. They were used effectively for many years in England and then later adopted by Hungarian teachers with a few minor changes. They must have one.Although generally credited to John Curwen, hand signs, as a form of musical notation, have been traced back as far as the ancient Hebrews and Egyptians. What I would like to hear is their own Mozart. That much I think you could trust the aliens to know, but I'll bet they'd like Mozart too. But it might be better to go a little farther and include the tones derived by filling in the scale with the above tones mirrored on the other side of the main note: the opposite of Mi is La, the opposite of So is Fa. In that sense the German scientist would be on the right track, at least, in claiming all music to be derived from these. Counting repeats and not going any higher than the almost-inaudible 10th partial, he left out only the 7th one, which theorists traditionally have considered to be an odd duck in that it can't form a consonant interval with the others. ![]() I think that the inhabitants of a distant galaxy would recognize and appreciate a melody formed of the major or minor scales, because they are both derived from universal acoustic principles: a vibrating string in another galaxy will have the same harmonic partials as it does here (partials you'll find discussed in the appendix of Exploring Theory with Practica Musica), and among the first and most audible of those partials are Do, Do an octave higher, So, Mi, and Re - hey, those are the same ones John Williams chose! So maybe his choice wasn't as random as he implied in interviews. Learn the signs for Do, Re, Mi, and So, perform the second Do lower, around waist level, and you can communicate with aliens yourself, should the need arise. I haven't watched this movie for a long while, but I believe the hand signals are the Curwen hand signs as illustrated for question 22, above. ![]() He said the choice was arbitrary, but actually they are critical tones of the major scale (see below). The five tones were chosen by composer John Williams after trying about 350 of the approximately 134,000 possible five-note combinations available in the 12-tone chromatic scale. The second Do is an octave below the first. The five musical tones in Close Encounters are, in solfege, Re, Mi, Do, Do, So, as below. Can anyone elaborate or tell me more? Thanks! - H.Īnswer: I'm always happy to discuss the nexus between alien visitations and music theory. Question: Where do the 5 tones d e c C G that are used with hand symbols in the movie "Close Encounters of the Third Kind" come from and what is their meaning? I have heard that these came from some German scientist that had a theory that all music stems from these notes or variations of these notes. Where do the 5 tones with hand symbols in the movie "Close Encounters of the Third Kind" come from? 35: Where do the 5 tones with hand symbols in the movie "Close Encounters of the Third Kind" come from?
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |