Talked Sulphur

Book for musicians, Dispenses for musicians, Educational necklaces, Music Book, Solfing Handbook
SKU: 16


FORM / Dispenses
Includes audio material / Melodic Dictations

Volume UNO

Pre-academic talked sulphurism is a boring, stressful subject, it doesn’t need so much, it’s not so important. I just take a 6 and I take it back, so I can devote myself to the things I like, playing, singing, composing songs. All the things that make me really feel like a musician!

  • A one-year-old begins to whisper the first syllables, the first half-words. Then over time the half words become whole words, small sentences, then more and more complete and articulated speeches he needs to communicate! With the others!
  • One beautiful day the child himself discovers that everything he can already say or do, can be represented with symbols, signs.
  • He discovers that someone else has created these symbols for him by associating each of them with a particular sound, a particular emission (phonema). Everything he has learned so far by imitation from others in voice, is codable through those signs.
  • A new language or rather a system to represent it, to write it in short, discovers writing!

At this point he reflects a little and then he thinks: But if I know how to write and read, I can learn so many other things, even never seen and heard before, I could read anything I’m interested in whatever subject it is, you know how many new things I could discover, on my own! Without anyone telling me, do that– you have to say that.

I can try to write a feeling, an emotion, a mood that if I don’t stop now (on paper) maybe tomorrow I won’t remember as I do now, in the same way, with the same intensity, the same words that I have in my head, at this moment.

The child becomes a boy and then a man, who has the ability to communicate with others, expressing their thoughts, feelings, emotions, through this language.

That from common language becomes special, special language, in literature, in poetry.

  • There is not one language in the world, there are many. All systems that have the primary purpose of communication. Don’t we have to learn French if we want to move to France?
  • Not even English if we want to study in an American college? Do we have to learn the music language if we want to be musicians? Jimi Hendrix didn’t know how to read!
  • Charlie Parker wasn’t the only one who wrote at home! This is somewhat our way of seeing musical language. (scritto). This strange, unknown, dark way of communicating. But who invented it? Why?

Pre-academic spoken sulphur, and what if I told you that sound language is actually the most primitive form of communication that man has ever used? Ah… you already knew that.

But then why not have a little more respect and gratitude for a language, the language of sounds, which has allowed us to defend ourselves from the traps of nature, from the times of the stone man who has enabled us to evolve, allows us to make the moments of our lives unique, unforgettable, just for that motive or that rhythm, that when you listen to them make you feel like that!

Someone (as has happened with all the languages of the world), has taken on the task of coding with symbols, rules, like those of the grammar of each language, the language of sounds.

We are free, as always, to choose!

If we learn this new language, with the simplicity and humility of a child, who begins to write the first letters, the first words, the awareness that it will not be a short journey, the certainty that we will have to commit ourselves constantly, like a child who goes to school every day, to learn something new, to discover things, a little strange, other fascinating, until one beautiful day, we have done so much way that we think: I haven’t finished learning yet, I want to know more and more!

It is this thought that drives me to write to you, my desire to communicate, with this for me fascinating language that is the writing of sounds, that allows us to analyze a melody, an accord, a song, allows to enter into the musical thought of the pages of the greatest musicians, both classical and modern, to pass on our knowledge, our achievements and musical discoveries, as has already done who came before us, to who comes, after us!

Volume DUE

Pre-Academic Speaking Sulphur

This book is the natural continuation of the Basic course (preparatory) and the deepening of the rhythmic figurations, sixteenth in all combinations with pauses and simple and composite syncopes, tertiary in one and two times also in this case in all the combinations, with the insertion of breaks and ligatures.

  • Composite times, uneven times in 5 and 7, sextines, double tertiaries, drums and quartines, figurations these used in the rhythms and times of modern music; I have given particular emphasis in the last chapter to the changes of time and speed, doubles and halves, the most common and important subordinations between simple and composite times, I hope this work may be of help in solving many of the rhythmic problems that are encountered by dealing with the study of a modern track (e non).

In fact, I consider it more important to have a consciousness of rhythmic figurations, rather than the exact nomenclature of the notes, so dear to the spoken “classical” sulphing; all exercises must be sulphed first rhythmically, focusing on precision and distribution in time and space (using the subdivision movements of time), then actually saying the names of the notes that, arrived at this point, I would take for granted have been assimilated. Good study!

Claudio Ricci
docente del Saint Louis College of Music

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