As a student of western music theory and its applications for almost five decades I have recently come to experience a transference of “music” related concepts appearing in other daily applications mentally followed by verbal. As theory follows music, not vice versa. Words are naturally being used more frequently in variations similar to methods of construction as related to music composition and improvisations. For example, “Parallel Keys” may displace items that relate in a Title, such as A minor or A Major both having A as a Tonic. Or, an out of sequence wording may better reflect a relative narrative versus a more grammatically correct sequence – whereas an action sequence of a “how to” or a set of Directions may at first seem illogical but upon inspection makes a work flow more logical. Example, D minor triad followed by F Major may see a voice motion change of only one note, yet where is the “modulated” progression? It’s simpler, it’s direct voice motion – more a String players perspective than a keyed / hammered instrument players thinking process.
I have noticed this phenomenon happening frequently enough that it has led me to analyze the common ground, many detailed happenings that point to a transference of “grammar” more akin to musical composition than standard English sentence structures.
Further,
Here’s a few directionals that illuminate some musical concepts that echo conversational and expansive dialogue, explanations, etc.
- Motif is to music what an idea or thought is to an essay
- Extrapolation is to linguistic logic what a “blow up” is to a Motif
- Relative keys are to music what common ground is to an agreement
- Notes of a key are a limited set with artificial boundaries
- Secondary 5ths are to modulation of keys and changing of note selection within a set what fallacies are to syllogisms?
Ebbanoxious Guitar Lessons 