![]() With jazz standards too, but there is much more flexibility required in actually rendering them. ![]() With anything from the core classical repertoire, the obvious major composers, to a good listener, you almost already know the piece before you learn it. I don't understand your second suggestion - pitch of a particular chord would be determined by how much variation there is in pitch around it? Could you give an example of how it would work? I'd be interested in any suggestions from folks with more musical theory than myself. So I started from a chart like this:Īcetylcholine Bmajor OR Dmajor (Acetylcholine has two precursor amino acids rather than one)īut even if one accepts the logic in step two, there's probably still better ways to assign sounds. Here's how I actually assigned them so people get an idea: I started with pentatonic scaling (G, C, A, B and D) and four major neurotransmitters (GABA, Serotonin, Dopamine, Acetylcholine) and assigned tones to the neurotransmitters based on which 'sounded' like the emotions those neurotransmitters give. ![]() If you've ideas what chords should be assigned to which codons, I'd be very interested in hearing your thoughts there (or anyone who's into music and logic puzzles). Unfortunately, most people I asked from a music theory perspective didn't have much interest in suggesting different approaches here, so I had to work off my own subjective sense. My thinking is, someone could come up with a better logic (not using emotion as the common known element) or apply the same logic using different musical elements (assign different tones given the same emotional targets). That's what I consider 'step two' of the process. One can also assign emotions to musical elements, hence there's a basis for assigning sounds to codons in a non-arbitrary way, with emotional association acting as the cypher between the two languages. Individual neurotransmitters are associated with particular emotions, and also particular amino acids - therefore, one can assign emotions to a subset of codons. What I hit on is convergence of emotional associations. So I wanted an approach that had logic in the loop somewhere, even if it had enough subjectivity that someone else following the same logic would come to a different conclusion. I think that gets stuck in the postmodern dilemma, where everything is subjective so there's no basis to compare one system to another. Where I disagree with a lot of existing approaches is that given the decision to assign sounds on the basis of codons, most people assign them arbitrarily. I'd say we agree on step one, I'd be interested in your feedback on how I approached steps two and three. I agree that codons are probably the best basic unit to work off rather than base pairs or other units of organization. My ears help but not much, since 'confirming' the sound is much harder with jazz than with classical music (it's unexpected, so again, there's some kind of delay between 'I hear the note' and 'ok that's right' while there's essentially no delay with classical music where my brain is kind of 'primed for acceptance' So while I anticipate with classical music and just confirm after the fact/right when the note actually shows up, with Bill Evans I have to think hard and actually confirm everything. The improv part of jazz I'm not good at but I get, but I've also tried playing from transcriptions (Bill Evans in particular), and have found I'm extremely slow at reading the music.Īfter thinking about it, I suspect it's because the music makes no sense to me so I can't guess what's coming ( which is what I do with classical music). Now, I'm supposed to be a reasonably good sight reader, or at least that's what I thought. I've recently started playing jazz piano, after years of classical piano. This might be tangentially related - I'm not sure. ![]()
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