Explicación desde la escala mayor:
Algunas personas explican las escalas como 2 tetradas. Asumiendo la distancia entre 1 2 3 4 como la primera tetrada y 5 6 7 8 como la segunda, cada una con sus relaciones interválicas, en el caso de la escala mayor sería
1 2M 2 2M 3 2m 4 2M 5 2M 6 2M 7 2m 8
que en el caso de Do mayor sería:
do 2M re 2M mi 2m fa 2M sol 2M la 2M si 2m do
Si lo pensamos desde el punto de vista planteado son 2 tétradas a distancia de x 2M x 2M x 2m x
Lidio:
Si analizamos la estructura de una escala lidia tendríamos
1 2M 2 2M 3 2M 4 2m 5 2M 6 2M 7 2m 8
que en el caso de Do Lidio sería:
do 2M re 2M mi 2M fa# 2m sol 2M la 2M si 2m do
resultando en 2 tétradas:
La primera: 1 2M 2 2M 3 2M 4
La segunda: 5 2M 6 2M 7 2m 8
El super hyper mega meta lidio:
La explicación del super hyper mega meta lidio: Tan simple como poner la primera tétrada del lidio, asumir que la 5ta nota estará a una 2da menor y volver a repetir la misma tétrada, generando una escala que escala sucesivamente en el mismo patrón:
do re mi fa# 2m sol la si do# 2m re mi fa# sol# 2m la si do# re# 2m etc
Notas:
Nota Crítica: Una de las cosas absurdas de la perspectiva escala = 2 tétradas es que al considerar 2 tétradas no se resalta lo suficiente la distancia entre la primera y la segunda tétrada (en caso de la escala mayor la distancia entre las notas 4 y 5, que son una 2M. y en el caso de lidio es una 2m).
Nota constructiva: Por otro lado, es importante recordar que las escalas son inútiles si no sabes como usarlas, puesto que la música es relacional: no se trata de las notas, sino de las relaciones entre ellas; y para esto no hay libro que ayude, la mejor guía es crear junto a un maestro que te guíe personalizadamente.
Quick explanation of the super hyper mega meta lydian
Explanation from the major scale:
Some people explain the scales as 2 tetrads. Assuming the distance between 1 2 3 4 as the first tetrad and 5 6 7 8 as the second one, each with its intervalic relationships, in the case of the major scale would be
1 2M 2 2M 3 2m 4 2M 5 2M 6 2M 7 2m 8
in the case of C major would be:
2M re 2M mi 2m fa 2M sol 2M 2M yes 2m do
If we think about it from that point of view, there are 2 distance tetrads of x 2M x 2M x 2m x
Lydian:
If we analyze the structure of a scale, we would have
1 2M 2 2M 3 2M 4 2m 5 2M 6 2M 7 2m 8
in the case of C lydian would be:
c 2M d 2M e 2M f # 2m g 2M 2M b 2m c
Producing 2 tetrads:
The first: 1 2M 2 2M 3 2M 4
The second: 5 2M 6 2M 7 2m 8
The super hyper mega meta lydian:
The explanation of the super hyper mega meta lydian: It is as simple as putting the first tetrad of the lydian, assuming that the 5th note will be a 2nd minor and repeating the same tetrad, generating a scale that is successively in the same pattern:
c d e f # 2m g a b c # 2m d e f # g # 2m a b c # d # 2m etc
Notes:
Critical Note: One of the absurd things of the scale = 2 tetrads perspective, refers to the distance between the first and second tetrads due to it is not sufficiently highlighted (in case of the larger scale the distance between notes 4 and 5 , which are a 2M. and in the case of lydian is a 2m).
Constructive note: On the other hand, it is important to remember that the scales are useless if you do not know how to use them, since the music is relational: it is not about the notes, but about the relationships between them; consequently there is no book to help you, the best guide is to create with a teacher to guide you personally.
3 errores a evitar cuando has de elegir un profesor o escuela / 3 mistakes to avoid when choosing a teacher or institution (ESP&ENG)
1- Que un músico sea rápido o que toque cosas complejas no lo convierte en un buen profesor:
Un típico error es creer que por estudiar con X persona tocarás como esa persona. Es fácil confundirse y creo que es un factor importante a considerar, ya que no sólo sucede lo anteriormente expuesto sino que se descubre que muchos excelentes intérpretes usan la pedagogía como un medio de subsistencia sin tomar el peso al trabajo que conlleva guiar a un estudiante dándole los recursos adecuados, en los tiempos que corresponde a través de una planificación precisa y adaptada para las habilidades y potenciales desarrollos del aprendiz (e idealmente alineándose con sus objetivos: punto 3).
2- Pensar que porque una escuela tiene estudiantes "famosos" es buena:
En Chile, las escuelas de música mienten, el prestigio lo gana cada músico dependiendo no sólo de su trabajo musical sino de su habilidad en human networking (lobby), marketing, producción, etc. Todas las escuelas pueden vanagloriarse de los logros de sus estudiantes más conocidos: eso no significa que ellos hayan hecho algún esfuerzo extra para que sus estudiantes llegasen allí. Por otro lado la fama en si misma, no tiene nada que ver con el valor musical, la disciplina invertida en la música, el trabajo realizado y la calidad de éste. (ésta declaración da para otro post).
3- No investigar lo suficiente:
Para investigar debes tener claro lo que deseas: si deseas hacer música o si deseas hacer música y ganar dinero haciéndola.
Conociendo esa respuesta lo siguiente es comprender el paradigma de la música (cómo funciona, cuáles son los rubros, cuáles de ellos son remunerados y cuales son las posibilidades reales de trabajo). Luego de considerar eso el profesor o escuela siempre tiene una misión y visión (quienes son, de dónde vienen y hacia adonde van; quien no tenga esto claro como pedagogo no vale la pena), con eso en consideración puedes contrastar esa información con tus intereses y finalmente tomar una decisión responsable, informada y sobretodo que esté alineada con tu verdadero propósito musical.
Texto: Danilo Dawson
Photo by Tim Graf on Unsplash
ENG:
3 mistakes to avoid when choosing a teacher or institution
1- A musician who plays faster or someone who plays complex things does not make him a good teacher: A common mistake is to believe that by studying with a specific person will make you like him. It's easy to get confused and I think it is an important factor to consider because not only the things that I already mentioned happen but also you can discover that many excellent interpreters use the pedagogy as a means of subsistence avoiding the importance of this job, for instance, guiding a student by giving the appropriate resources in periods of time through precise and adapted planning for skills and also, potential the learner developments (and ideally aligning with their objectives: 3rd mistake).
2-Thinking that an institution has "famous" students is a good one: In Chile, music institutions lie, the prestige of each musician depends not only of their work but also on his ability in human networking (lobby), marketing, production, etc. All institutions can boast about the achievements of their best-known students: that does not mean that they have made some extra effort to get their students there. On the other hand, the fame itself has nothing related with the musical value, discipline invested in music, work done, and its quality. (This statement is for another post).
3- Lack of research:
To research you must be clear about what you want: if you want to make music or if you want to make music and earn money. Knowing that answer, the next step is to understand the music paradigm (how it works, which ones are your options, which of them are paid and what are the real possibilities to work). After considering those points, the teacher or school always has a mission and vision (who they are, where they come from and where they are going; who does not have this clear as a pedagogue is not worth it), with that you can compare and contrast the information with your own interests and finally make a responsible choice, informed and above all, that could be aligned with your true musical purpose.
ENG:
3 mistakes to avoid when choosing a teacher or institution
1- A musician who plays faster or someone who plays complex things does not make him a good teacher: A common mistake is to believe that by studying with a specific person will make you like him. It's easy to get confused and I think it is an important factor to consider because not only the things that I already mentioned happen but also you can discover that many excellent interpreters use the pedagogy as a means of subsistence avoiding the importance of this job, for instance, guiding a student by giving the appropriate resources in periods of time through precise and adapted planning for skills and also, potential the learner developments (and ideally aligning with their objectives: 3rd mistake).
2-Thinking that an institution has "famous" students is a good one: In Chile, music institutions lie, the prestige of each musician depends not only of their work but also on his ability in human networking (lobby), marketing, production, etc. All institutions can boast about the achievements of their best-known students: that does not mean that they have made some extra effort to get their students there. On the other hand, the fame itself has nothing related with the musical value, discipline invested in music, work done, and its quality. (This statement is for another post).
3- Lack of research:
To research you must be clear about what you want: if you want to make music or if you want to make music and earn money. Knowing that answer, the next step is to understand the music paradigm (how it works, which ones are your options, which of them are paid and what are the real possibilities to work). After considering those points, the teacher or school always has a mission and vision (who they are, where they come from and where they are going; who does not have this clear as a pedagogue is not worth it), with that you can compare and contrast the information with your own interests and finally make a responsible choice, informed and above all, that could be aligned with your true musical purpose.
Tip: La mesura - The moderation (Esp&Eng)
Tip: La importancia de la mesura en todo
¿Eres perfeccionista? ¿Autoexigente? ¿Conoces tus límites?
En éste espacio de tips para mis estudiantes, clientes y suscritos varios, normalmente doy tips apuntando a la productividad a partir de la acción, pero esta vez iré a lo contrario.
En una vida entera de trabajo incansable, dónde mientras más tiempo pasa el estudio y el talento se hacen más insuficientes he descubierto un secreto tremendo y que carga años de experiencia: está bien parar.
El límite: En mi experiencia he tenido la suerte de conocer y exceder mis límites, y creo que siempre es bueno saberlos. De esa manera puedes adquirir compromisos que podrás cumplir y rechazar en los que no alcanzarás a lograr el cometido de una forma óptima (esto abre a debate "qué es óptimo" y por otro lado, un tema que da para otro post: ¿Cómo decir que no?). Mis límites como compositor, sesionista de música popular en piano, arreglador, productor y co-compositor, y profesor han sido:
Composición: 200 canciones en 2 meses; 4 canciones en un día (a los 14 años)
En sesiones - grabaciones: grabar 12 temas en 2 horas (con banda) (2012)
En grabación de composiciones: grabar 16 temas en 3 horas. (el 2018)
En composición y producción: Dar cierre a una colaboración composicional y hacer el arreglo en el DAW-maqueta para 20 instrumentos aprox (incluidos 6 brass) en un día. (2018)
En arreglos y producción: hacer un arreglo de bigband con la grabación en vst en 2 días y Hacer 3 arreglos para cuartetos de cuerda y piano en una noche (en ambos casos la experiencia fue una locura y honestamente preferiría no repetirlo nuevamente). (2013 y 2018)
La cantidad no implica calidad; mi última obra para piano "Colores" me tomó prácticamente 6 meses escribir. El disco escamas me tomó 4 años, pero Seventh Gate lo compuse (las líneas e ideas principales) en 2 meses.
A sabiendas de mis límites prefiero tener 2 semanas para estudiar una sesión/evento. En el caso de las producciones y composiciones por encargo (o co-composiciones) entre 1 a 2 meses, pero eso es mi caso y creo que cada uno debe encontrar el balance entre lo que considera lo mínimo para entregar y el tiempo sano que tome realizarlo. Con respecto a mis propias composiciones hoy en día he acumulado tantas que para componerlas me tomo el tiempo que tenga que tomarme, y en la producción de éstas el límite es la fecha de lanzamiento. Volviendo a los límites en trabajos para-con otras personas: en muchos casos quedé con sensaciones de stress y otras emociones negativas que... mirándolo con retrospectiva no tiene ningún sentido cuando eliges hacer lo que te apasiona.
Por supuesto que éste texto está escrito a gente autoexigente, perfeccionista, que le encanta hacer bien las cosas y que de cierta forma, no puede evitarlo; ésta es la gente con que trabajo. Bajo ninguna circunstancia creo que la mediocridad lleve a alguna parte, si bien en el mundo que vivimos ser experto en algo no implica que te vaya bien, el desarrollo y despliegue de todas las habilidades que implican avanzar requieren disciplina y trabajo. Caer en el otro extremo es un problema que puede costarte muy caro si no sabes parar aunque sea unos minutos, un día, o lo que sea necesario.
La mesura me llegó como un rayo cuando empecé a tener serios problemas de salud. Cosa que no había sentido realmente desde la lesión que adquirí en mis viajes y que nunca me abandona. Desde distintos lados, estudios de emprendimiento, yoga, libros filosofía, amigos, etc. comprendí que la mesura es como el silencio de la música tradicional, sin respiro no hay canto, sin aire no hay vida. Si no sabes medir la mesura mi tip de hoy es búscala y sigue trabajando duro, avanzando constantemente, amando la música/producción o lo que sea que hagas, disfrútala al máximo. Tener esos pequeños respiros ayudan a recordar que somos unos """"afortunados"""" por poder darnos tiempo para hacer lo que nos apasiona.
Fotografía y Texto: Danilo Dawson
ENG:
Tip: The importance of moderation in everything
In this section which is dedicated to my students, clients and several subscribers, I usually give tips, from the action, focused on productivity, but now, I will go to the opposite way.
In a lifetime of tireless work, as time goes by, the study and talent becomes more insufficient. For that, I have discovered a tremendous secret that carries years of experience: it is okay to stop.
The limit: In my experience, I have been lucky to know and exceed my limits because you can know them. Consequently, you can acquire commitments that you can fulfill and also reject in which you will not be able to achieve in an optimal way (but "what is optimal?", this topic could develop another post too: How to say not?). My limits as a composer, sessionist of pop music in piano, arranger, producer and co-composer, and teacher have been:
Composition: 200 songs in 2 months; 4 songs in one day (at the age of 14)
- In sessions - recordings: record 12 tracks in 2 hours (with band) (2012)
- In recording compositions: record 16 tracks in 3 hours. (2018)
- In composition and production: Close a compositional collaboration and make the arrangement in the DAW-model for 20 instruments approx (including 6 brass) in one day. (2018)
- In arrangements and production: make a bigband arrangement with the recording in vst in 2 days and make 3 arrangements for a string quartet and piano in one night (in both cases the experience was crazy and I would honestly prefer to not repeat it again). (2013 and 2018)
Quantity does not imply quality; My last piano work "Colors" took me almost 6 months to write. The disc called Escamas took me 4 years, but Seventh Gate composed it (the main lines and ideas) in 2 months.
According to my limits, I prefer to have 2 weeks to study a session / event. In case of productions and compositions (works made for hire) or co-compositions between 1 to 2 months, but that is my case and I believe that each one must find the balance between what he/she considers the minimum to deliver and the healthy time it takes do it. Regarding to my own compositions, nowadays, I have accumulated so many that to compose them I take the time I have to take, and in the production of these the limit is the release date. Returning to the limits in work for- other people: in many cases I felt stress and other negative emotions that ... looking back at it makes no sense when you choose to do what you are passionate about.
Just to be clear, this text is written to self-demanding, perfectionist people, who loves to do things well and who, in a certain way, cannot avoid it; these are the people I work with. Under no circumstances I believe that mediocrity leads anywhere, although in the world we live, to be an expert in something does not imply that you are doing well, furthermore, the development and deployment of all the skills that involve moving forward require discipline and work. On the other hand, moving on to the other extreme is could be a problem that can cost you a lot if you can't stop even a few minutes a day, or whatever it takes.
The moderation came to me like a lightning when I began to have serious health problems due to I had not really felt that since the injury that I acquired during my travels and that never leaves me. From different points of view, entrepreneurship studies, yoga, philosophy books, friends, etc. I understood that moderation is like the silence of traditional music, without breathing there is no singing, without air there is no life. If you don't know how to measure moderation, my tip today is to look for it and keep working hard, constantly moving forward, loving music / production or whatever you do, enjoy it. Having those little breaths help you to remember that we are "" "" lucky "" "to be able to give ourselves time to do what we are passionate about.
Photography y Text: Danilo Dawson
¿Eres perfeccionista? ¿Autoexigente? ¿Conoces tus límites?
En éste espacio de tips para mis estudiantes, clientes y suscritos varios, normalmente doy tips apuntando a la productividad a partir de la acción, pero esta vez iré a lo contrario.
En una vida entera de trabajo incansable, dónde mientras más tiempo pasa el estudio y el talento se hacen más insuficientes he descubierto un secreto tremendo y que carga años de experiencia: está bien parar.
Composición: 200 canciones en 2 meses; 4 canciones en un día (a los 14 años)
En sesiones - grabaciones: grabar 12 temas en 2 horas (con banda) (2012)
En grabación de composiciones: grabar 16 temas en 3 horas. (el 2018)
En composición y producción: Dar cierre a una colaboración composicional y hacer el arreglo en el DAW-maqueta para 20 instrumentos aprox (incluidos 6 brass) en un día. (2018)
En arreglos y producción: hacer un arreglo de bigband con la grabación en vst en 2 días y Hacer 3 arreglos para cuartetos de cuerda y piano en una noche (en ambos casos la experiencia fue una locura y honestamente preferiría no repetirlo nuevamente). (2013 y 2018)
La cantidad no implica calidad; mi última obra para piano "Colores" me tomó prácticamente 6 meses escribir. El disco escamas me tomó 4 años, pero Seventh Gate lo compuse (las líneas e ideas principales) en 2 meses.
A sabiendas de mis límites prefiero tener 2 semanas para estudiar una sesión/evento. En el caso de las producciones y composiciones por encargo (o co-composiciones) entre 1 a 2 meses, pero eso es mi caso y creo que cada uno debe encontrar el balance entre lo que considera lo mínimo para entregar y el tiempo sano que tome realizarlo. Con respecto a mis propias composiciones hoy en día he acumulado tantas que para componerlas me tomo el tiempo que tenga que tomarme, y en la producción de éstas el límite es la fecha de lanzamiento. Volviendo a los límites en trabajos para-con otras personas: en muchos casos quedé con sensaciones de stress y otras emociones negativas que... mirándolo con retrospectiva no tiene ningún sentido cuando eliges hacer lo que te apasiona.
Por supuesto que éste texto está escrito a gente autoexigente, perfeccionista, que le encanta hacer bien las cosas y que de cierta forma, no puede evitarlo; ésta es la gente con que trabajo. Bajo ninguna circunstancia creo que la mediocridad lleve a alguna parte, si bien en el mundo que vivimos ser experto en algo no implica que te vaya bien, el desarrollo y despliegue de todas las habilidades que implican avanzar requieren disciplina y trabajo. Caer en el otro extremo es un problema que puede costarte muy caro si no sabes parar aunque sea unos minutos, un día, o lo que sea necesario.
La mesura me llegó como un rayo cuando empecé a tener serios problemas de salud. Cosa que no había sentido realmente desde la lesión que adquirí en mis viajes y que nunca me abandona. Desde distintos lados, estudios de emprendimiento, yoga, libros filosofía, amigos, etc. comprendí que la mesura es como el silencio de la música tradicional, sin respiro no hay canto, sin aire no hay vida. Si no sabes medir la mesura mi tip de hoy es búscala y sigue trabajando duro, avanzando constantemente, amando la música/producción o lo que sea que hagas, disfrútala al máximo. Tener esos pequeños respiros ayudan a recordar que somos unos """"afortunados"""" por poder darnos tiempo para hacer lo que nos apasiona.
Fotografía y Texto: Danilo Dawson
ENG:
Tip: The importance of moderation in everything
In this section which is dedicated to my students, clients and several subscribers, I usually give tips, from the action, focused on productivity, but now, I will go to the opposite way.
In a lifetime of tireless work, as time goes by, the study and talent becomes more insufficient. For that, I have discovered a tremendous secret that carries years of experience: it is okay to stop.
The limit: In my experience, I have been lucky to know and exceed my limits because you can know them. Consequently, you can acquire commitments that you can fulfill and also reject in which you will not be able to achieve in an optimal way (but "what is optimal?", this topic could develop another post too: How to say not?). My limits as a composer, sessionist of pop music in piano, arranger, producer and co-composer, and teacher have been:
Composition: 200 songs in 2 months; 4 songs in one day (at the age of 14)
- In sessions - recordings: record 12 tracks in 2 hours (with band) (2012)
- In recording compositions: record 16 tracks in 3 hours. (2018)
- In composition and production: Close a compositional collaboration and make the arrangement in the DAW-model for 20 instruments approx (including 6 brass) in one day. (2018)
- In arrangements and production: make a bigband arrangement with the recording in vst in 2 days and make 3 arrangements for a string quartet and piano in one night (in both cases the experience was crazy and I would honestly prefer to not repeat it again). (2013 and 2018)
Quantity does not imply quality; My last piano work "Colors" took me almost 6 months to write. The disc called Escamas took me 4 years, but Seventh Gate composed it (the main lines and ideas) in 2 months.
According to my limits, I prefer to have 2 weeks to study a session / event. In case of productions and compositions (works made for hire) or co-compositions between 1 to 2 months, but that is my case and I believe that each one must find the balance between what he/she considers the minimum to deliver and the healthy time it takes do it. Regarding to my own compositions, nowadays, I have accumulated so many that to compose them I take the time I have to take, and in the production of these the limit is the release date. Returning to the limits in work for- other people: in many cases I felt stress and other negative emotions that ... looking back at it makes no sense when you choose to do what you are passionate about.
Just to be clear, this text is written to self-demanding, perfectionist people, who loves to do things well and who, in a certain way, cannot avoid it; these are the people I work with. Under no circumstances I believe that mediocrity leads anywhere, although in the world we live, to be an expert in something does not imply that you are doing well, furthermore, the development and deployment of all the skills that involve moving forward require discipline and work. On the other hand, moving on to the other extreme is could be a problem that can cost you a lot if you can't stop even a few minutes a day, or whatever it takes.
The moderation came to me like a lightning when I began to have serious health problems due to I had not really felt that since the injury that I acquired during my travels and that never leaves me. From different points of view, entrepreneurship studies, yoga, philosophy books, friends, etc. I understood that moderation is like the silence of traditional music, without breathing there is no singing, without air there is no life. If you don't know how to measure moderation, my tip today is to look for it and keep working hard, constantly moving forward, loving music / production or whatever you do, enjoy it. Having those little breaths help you to remember that we are "" "" lucky "" "to be able to give ourselves time to do what we are passionate about.
Photography y Text: Danilo Dawson