So when you identify the tone, is it the major, minor, and phrygian you are hearing inside of the tone? I consider the whole tone lydian/locrian thing to actually just be a concoction of major and phrygian. It is why they say it sounds purple. Imagine placing a major and phrygian tetrachord on top of each other, and there is the whole tone inside of this mixture, or perhaps maybe it is all of the primary tetrachords on top of each other, who knows. maybe the two different whole tone tetrachords residing in the major scale the natural whole tone one on the lydian, and the flat whole tone on the locrian, Ive seen some theory regarding this sort of thing as the wholetone being the top, just under the chromatic, maybe the barry harris thing. The other non natural notes that reside between these main natural note mixtures are between these sounds. If so what do you hear in the sharps, are they mixtures of these as well, placed between the natural tones mixtures?
You said faces, so I take that as each note has some sort of genetic makeup. Could you explain a bit more in detail.
I am seeing how I am able to identify, and why I mistake things. Because I am having trouble pinpointing where these primary colors reside in some of the tones that are mixtures of these primary colors. Is it left, right, or center sort of thing, or the tone is an inbetween one of the natural notes of the major scale.
Like say Do, So, or Fi plays. Since Do is major/major tetrachord this one i rarely miss, but sometimes I confuse So since it has major/minor a bit of major on the front, and since Fi, the tritone, resides on the backside of Fa which we know has the makeup of wholetone/major, that puts the tritone inbetween a backside major of Fa and a frontside major of So. So sometimes I get the sensation that this tone, Fi, is glassy, or something like that cause its trying to confuse my senses. Or maybe perhaps its like singing Do but sucking in Air to sing it, like a Mirrored Do is how Fi sounds to me. But I am testing all the tones in atonality so it can get pretty jaring with comprehending it all as a whole since I am just starting to grasp how I am able to sense the tones. And Fi doesnt sound glassy, like visually, its just a way to try to describe aurally why its trying to trip up Do or So on me, or just remain sort of hidden amongst the crowd of genetically major tones in a sea of atonality, keyless monophonic color swirl typhoon random note guessing game.
And really I know this might be quite confusing I am using syllables in fixed do so when I hear certain tones, not all I know the syllable immediately so this means that if I hear Mi, one of my more prominent ones, that is Mi. Phrygian/Phrygian there is no denying that so that is how I know its the tetrachord genetics I am hearing in the atonality random pitch test, or what I call keyless monophonic color swirl typhoon random note guessing game. You might be thinking well he just heard something, but no I can test hours, days, upon waking, and these notes always reside in that place amongst the solfege. Which sucks cause that makes Mi at A#, rofl! Its so sad people say no one can learn this anyone can rofl! However it might be related to how everyone hears, or vocal range to decide where everyones Do resides in the equal temperament tuning system.
This is why do, re, mi has such a big significance because they are the primary colors. Like in the visual realm its red, yellow, and blue.
Do major/major
Re minor/minor
Mi phrygian/phrygian
But there might be different degrees to it, depending on what or when one acquired this sense during their lifetime. By on what I mean the tuning on the instrument, and how well in tune it was in equal temperament. And when, childhood, teenager, or adult. Genetics can also play a big factor, I know this from being a gym rat. And monophonic then polyphony, oh and key identification has more to do with understanding musical writing, not really absolute pitch, because it would require how to identify song form. But it requires solid absolute pitch to do so. It could also just be that once one understands they can sense pitch this way you can then hone it. Because I believe everybody has this sense as long as they can hear, some are just on or way off. Or forever reside like a wanderer moving the rainbow around in moveable do fashion wondering why they are lost if they dont know the key.
I might trying moving over to my synths to practice this, but I dont know how to find a program to randomly press keys for me via midi. Because I can only randomly press white keys, if I reach for black you can sort of decipher where you are on the keys by feel. Since I can pretty much remove the 5th overtone via frequency sweep, I can get closer to the fundamental with only slightly hearing the fundamentals octave. This way if I try to switch instruments I can see if this helps, or if it doesn’t.
i mean i guess we sorta altered the tuning system anyways away from the harmonic overtone series so it really is something humans cooked up.
