SAMPLES OF THE MUSIC MATRIX
Good Day.
You've here because you received a personal invitation to explore deeper into the workings of the systems presented as a potential alliance toward the vision. This page is not intended for public display, but for private viewing only. I appreciate your your interest to hear more.
If you are a developer or potential investor, you'll find a large degree of sample systems to consider. Please feel free to inquire into the 2017 business plan for the Music Matrix apps and software including long term trajectories for expansion. Please see the Business Plan Table of Contents to get an overview of the contents. It's available HERE.at the bottom of the page. An updated and revised version of the 132 page business plan will be created at a later date as things move forward into action.
The contents on this page are written descriptions of the inner workings of the software and app designs. It is very important to note that the writing DESCRIBES what WILL BE AUTOMATED. The USER'S EXPERIENCE will be very different and WILL NOT require the mental exercise translating the words into motion like on this page. These description prompts will be automated and mostly self-evident. The movement of sound and visuals will be a fluid experience.
If you are a musician considering participation in this project, feel free to explore the content here within your own compositions without royalty obligations, however feedback from your user experience is graciously requested for sake of evolving and improving it. You're welcome to discuss your experience with them to friends and colleagues in a general way that doesn't leek the systems to the public. If you do have others interested in viewing and learning them, please forward them to me.
Thank you kindly for your presence here!
Warm Regards,
Ziggy
You've here because you received a personal invitation to explore deeper into the workings of the systems presented as a potential alliance toward the vision. This page is not intended for public display, but for private viewing only. I appreciate your your interest to hear more.
If you are a developer or potential investor, you'll find a large degree of sample systems to consider. Please feel free to inquire into the 2017 business plan for the Music Matrix apps and software including long term trajectories for expansion. Please see the Business Plan Table of Contents to get an overview of the contents. It's available HERE.at the bottom of the page. An updated and revised version of the 132 page business plan will be created at a later date as things move forward into action.
The contents on this page are written descriptions of the inner workings of the software and app designs. It is very important to note that the writing DESCRIBES what WILL BE AUTOMATED. The USER'S EXPERIENCE will be very different and WILL NOT require the mental exercise translating the words into motion like on this page. These description prompts will be automated and mostly self-evident. The movement of sound and visuals will be a fluid experience.
If you are a musician considering participation in this project, feel free to explore the content here within your own compositions without royalty obligations, however feedback from your user experience is graciously requested for sake of evolving and improving it. You're welcome to discuss your experience with them to friends and colleagues in a general way that doesn't leek the systems to the public. If you do have others interested in viewing and learning them, please forward them to me.
Thank you kindly for your presence here!
Warm Regards,
Ziggy
I. METHODS SIMPLIFYING TRADITIONAL THEORY
The simplification of traditional learning approaches.
A key approach to simplifying is reducing the amount of information that it takes to learn a lesson. We can do this by reducing complicated long terminology into simple LAYMAN'S terms that accelerates processing speeds. Possibly the easiest way is translating long terms into whole numbers. Whole numbers are the first forms of math taught to most all from a very early age. This is the logical starting point for learning music since it's already our starting point for learning. Complicated terminologies and approaches like fractions, walking half-steps, tying binary notes, and other complex labels can be very confusing to many.These approaches still have value that should be taught, but the simplicity of the starting point is the strongest foundation in eliminating the obstacles of confusion that deters beginners and learning challenged.
Numerical wholeness accelerates learning that allows greater mental retention, while being inclusive for greater participation.
A key approach to simplifying is reducing the amount of information that it takes to learn a lesson. We can do this by reducing complicated long terminology into simple LAYMAN'S terms that accelerates processing speeds. Possibly the easiest way is translating long terms into whole numbers. Whole numbers are the first forms of math taught to most all from a very early age. This is the logical starting point for learning music since it's already our starting point for learning. Complicated terminologies and approaches like fractions, walking half-steps, tying binary notes, and other complex labels can be very confusing to many.These approaches still have value that should be taught, but the simplicity of the starting point is the strongest foundation in eliminating the obstacles of confusion that deters beginners and learning challenged.
Numerical wholeness accelerates learning that allows greater mental retention, while being inclusive for greater participation.
3 WAYS WE CAN ACCELERATE THE LEARNING PROCESS...
A. TRANSLATING INTERVALS INTO WHOLE NUMBERS:
While there is value in the names and numbers of intervals, it can get messy and cumbersome. To give an example of this, lets look at a "maj13" Chord.
The intervals are: M3,m3,M3,m3,P5.
Writing it out this way takes 10 characters and saying it takes 15 syllables. OR you can count the number of (unplayed) NOTES between two notes in an interval and write the same maj13 chord (M3.m3,M3,m3,P5) as 32326 instead. It's only 5 characters and 5 syllables. With all chords, the notes and intervals need to be memorized simultaneously to the name of the chord before that chord can be played. But someone can easily memorize 323 chord and play it easy right away WITHOUT having to wait to memorize the interval names, the sequence of intervals used, and chord name. This means that within the first few minutes, someone who has never played can start forming complex chords right away on a keyboard without the additional steps slowing things down. Learning names comes after.
THE BENEFITS INCLUDE:
~ Reducing the amount of information the brain must memorize to accelerate learning:
It's basic math, if you have to memorize 2 or 3 times more information, you will learn 1/2 to 2/3 less information. The less variables you brain has to memorize, the quicker you learn.
~ Mostly eliminating counting steps 1x1 by seeing things as a group:
For example, in a Perfect 4th interval, rather than counting "Whole step, Whole step, Half step", someone can just visually recognized a group of 4 notes between the two played notes. To see groups in larger intervals such as M6th, you simple see two groups of 4.
~ Seeing chords in WHOLE NUMBERS allows one to see chord relationships easier:
For examples, M and m chords are 32 and 23 respectively, which we see is symmetrical form. Also Sus 2 and Sus 4 are 14 and 41 are symmetrical, as well as C6 and D/C chords that are 321 and 123. Relationship similarities are easy to recognize using whole number forms.
~ Keeping track of unusual interval sequences easily:
In the case of d5-m2-M2-M3, it has no chord name to substitute and shorten it. Keeping it as 5013 reduces into a single 4 digit number. You reduce a complex strand memorized in multiple bit of information into a single piece of information that is easy to file within the brain in larger quantity. In addition, for chord names, such as "maj13", you have to have the intervals well memorized to play it, but the strand name "32326" is the literal chord structure.
The intervals are: M3,m3,M3,m3,P5.
Writing it out this way takes 10 characters and saying it takes 15 syllables. OR you can count the number of (unplayed) NOTES between two notes in an interval and write the same maj13 chord (M3.m3,M3,m3,P5) as 32326 instead. It's only 5 characters and 5 syllables. With all chords, the notes and intervals need to be memorized simultaneously to the name of the chord before that chord can be played. But someone can easily memorize 323 chord and play it easy right away WITHOUT having to wait to memorize the interval names, the sequence of intervals used, and chord name. This means that within the first few minutes, someone who has never played can start forming complex chords right away on a keyboard without the additional steps slowing things down. Learning names comes after.
THE BENEFITS INCLUDE:
~ Reducing the amount of information the brain must memorize to accelerate learning:
It's basic math, if you have to memorize 2 or 3 times more information, you will learn 1/2 to 2/3 less information. The less variables you brain has to memorize, the quicker you learn.
~ Mostly eliminating counting steps 1x1 by seeing things as a group:
For example, in a Perfect 4th interval, rather than counting "Whole step, Whole step, Half step", someone can just visually recognized a group of 4 notes between the two played notes. To see groups in larger intervals such as M6th, you simple see two groups of 4.
~ Seeing chords in WHOLE NUMBERS allows one to see chord relationships easier:
For examples, M and m chords are 32 and 23 respectively, which we see is symmetrical form. Also Sus 2 and Sus 4 are 14 and 41 are symmetrical, as well as C6 and D/C chords that are 321 and 123. Relationship similarities are easy to recognize using whole number forms.
~ Keeping track of unusual interval sequences easily:
In the case of d5-m2-M2-M3, it has no chord name to substitute and shorten it. Keeping it as 5013 reduces into a single 4 digit number. You reduce a complex strand memorized in multiple bit of information into a single piece of information that is easy to file within the brain in larger quantity. In addition, for chord names, such as "maj13", you have to have the intervals well memorized to play it, but the strand name "32326" is the literal chord structure.
B. USING WHOLE NUMBER COUNTS INSTEAD OF FRACTIONED NOTES:
The strength of 4/4 time holds great value in that it measures the downbeats and upbeats. The great weakness within it, particularly when using fractions, is that it becomes a mental challenge to retain information outside of just sound intelligence. It hinders mental memorization.
In mapping the rhythm patterns within the Music Matrix systems, rather than using a fractioned system in 4/4 time, it uses a count system in 8/8 time. Without disrespecting the value of fractions or 4/4, the whole numbers in 8/8 removes much clutter that allows for greater mental retainment.
To use an example, rather than writing a 1/2 note tied to 1/4 note tied to 1/8 note followed by 1/8 note, we can simplify it into a count of 71. You play the 7 for 7 counts and the 1 for 1 count. While there is significance in fusing binary notes into new numbers, the complexity inhibits the mind to learn with ease and deters many, but a little kid just learning to count and a learning challenged individual can understanding holding a note to the count of 7.
THE BENEFITS INCLUDE:
~ Creating a basic mathematical foundation for manipulating patterns easily:
The rhythm pattern written as 4211 in 8/8 time can easily be altered to similar sounding, but different, patterns. The rhythm 4211 can easily shift into 3311, 431, 4121, 422, or 31211, etc by a slight alteration. All of these rhythm patterns are very compatible with common sound of the original 4211 pattern. Manipulating fractions in 4/4 time gets rather challenging and complex to the point that it deters people away. This approach of writing rhythms as whole numbers allows even a second grader who hasn't learned fractions yet to start playing around with sound alterations in a very easy way.
~Recognizing families of patterns:
Common sound is a key component used within music composition. Using whole numbers, we can easily map the variations of a single group of notes. In the example of the 4211, or 1/2 note,1/4 note,1/8 note, 1/8 notes, you can sequence these notes in many different ways. All the different sequences share a common sound feeling because they contain the same notes. If we loop it and have different starting points you get 4211, 1421, 1142, and 2114. And if you go in a backwards direction in that loop you get 1124, 1241, 2411, and 4112. It's all the same notes with a common feel despite their uniqueness. This also introduces rhythmic symmetry where the patterns usually have symmetrical counterparts, such as 4211 and 1124.
The last set of sequences to mention that uses that group of 4 notes is 4121, 1412, 2141, and 1214. While the first two loops of 4 patterns are symmetrical counterparts to each other, this last set of 4 patterns has the symmetry pairs within their own loop, such as 4121 and 1214. In the end you have 12 potential rhythm patterns off of one family of four notes. Within them, there are various types of relationship sounds that create subtle feelings that can be integrated into compositions.
Using whole numbers, the notes can easily shift around in a way that doesn't often happen often with fractions and tied notes.
~ Simplifying complex rhythm patterns:
There are sometimes rhythm patterns that can be challenging for beginners and intermediate, especially when the degree of syncopation is high. For example, a 1/8, 1/4, 1/8, dotted 1/4, and 1/8 note pattern is confusing to memorize and play, but 12131 is easy. Trying to align the notes on the up and down beats in 1+2+3+4+ can be a challenge and feel unnatural, but by learning the whole number count makes it sink in much quicker. You can also memorize 12131 easily without even having to play it out a number of times.
In mapping the rhythm patterns within the Music Matrix systems, rather than using a fractioned system in 4/4 time, it uses a count system in 8/8 time. Without disrespecting the value of fractions or 4/4, the whole numbers in 8/8 removes much clutter that allows for greater mental retainment.
To use an example, rather than writing a 1/2 note tied to 1/4 note tied to 1/8 note followed by 1/8 note, we can simplify it into a count of 71. You play the 7 for 7 counts and the 1 for 1 count. While there is significance in fusing binary notes into new numbers, the complexity inhibits the mind to learn with ease and deters many, but a little kid just learning to count and a learning challenged individual can understanding holding a note to the count of 7.
THE BENEFITS INCLUDE:
~ Creating a basic mathematical foundation for manipulating patterns easily:
The rhythm pattern written as 4211 in 8/8 time can easily be altered to similar sounding, but different, patterns. The rhythm 4211 can easily shift into 3311, 431, 4121, 422, or 31211, etc by a slight alteration. All of these rhythm patterns are very compatible with common sound of the original 4211 pattern. Manipulating fractions in 4/4 time gets rather challenging and complex to the point that it deters people away. This approach of writing rhythms as whole numbers allows even a second grader who hasn't learned fractions yet to start playing around with sound alterations in a very easy way.
~Recognizing families of patterns:
Common sound is a key component used within music composition. Using whole numbers, we can easily map the variations of a single group of notes. In the example of the 4211, or 1/2 note,1/4 note,1/8 note, 1/8 notes, you can sequence these notes in many different ways. All the different sequences share a common sound feeling because they contain the same notes. If we loop it and have different starting points you get 4211, 1421, 1142, and 2114. And if you go in a backwards direction in that loop you get 1124, 1241, 2411, and 4112. It's all the same notes with a common feel despite their uniqueness. This also introduces rhythmic symmetry where the patterns usually have symmetrical counterparts, such as 4211 and 1124.
The last set of sequences to mention that uses that group of 4 notes is 4121, 1412, 2141, and 1214. While the first two loops of 4 patterns are symmetrical counterparts to each other, this last set of 4 patterns has the symmetry pairs within their own loop, such as 4121 and 1214. In the end you have 12 potential rhythm patterns off of one family of four notes. Within them, there are various types of relationship sounds that create subtle feelings that can be integrated into compositions.
Using whole numbers, the notes can easily shift around in a way that doesn't often happen often with fractions and tied notes.
~ Simplifying complex rhythm patterns:
There are sometimes rhythm patterns that can be challenging for beginners and intermediate, especially when the degree of syncopation is high. For example, a 1/8, 1/4, 1/8, dotted 1/4, and 1/8 note pattern is confusing to memorize and play, but 12131 is easy. Trying to align the notes on the up and down beats in 1+2+3+4+ can be a challenge and feel unnatural, but by learning the whole number count makes it sink in much quicker. You can also memorize 12131 easily without even having to play it out a number of times.
C. COMMON DENOMINATOR LEARNING / GROUP THEORY:
"Group Theory" is yet another accelerator for learning. Group theory was mentioned on the initial Music Matrix page, but here are a few more examples.
In the case of the 4211 rhythm pattern, you can plot those four rhythms notes on a single wheel and learn 12 variations from it visually. In another example, you can take the notes 3,2,1,1,1. From this group of five notes, you get TWO PENTAGONS with 20 different rhythm patterns. That means you are learning 20 rhythms with shared commonalities at the same time. Usually musicians only learn one at a time.
Symmetry is another way of learning multiple pieces of information at once. In seeing symmetry, you can learn one pattern and automatically see another as well by understanding symmetry. If you know how to figure out "Shadow", you can take a single pattern then find its shadow, then its symmetry, then the shadow pattern from that symmetry. Thus you learn 4 patterns from that singular pattern with complementary sounds. ("shadow" flips the played notes with the unplayed notes to create new rhythms.)
Patterns of movement are another way of grouping. A chord progression may follow a TRAVEL PATTERN that other progressions follow as well, just as all Major Scales all follow the same travel pattern. In the "I-IV-V" progression, the "ii-V-vi" progression shares the same travel pattern, just at a different starting point. If you take the remaining 5 progressions with the same travel pattern, you get 7 progressions part of the same group.The group also becomes a mental reference point of recalling the individual progressions.
Since there are so many ways to group information, Group Theory has many applications, too many to mention here. Point is that by learning what their commonality is, you don't have to relearn that commonality part over and over, like you would if you learned them randomly on their own. It saves time processing less information.
THE BENEFITS INCLUDE:
~ Understanding and observing pattern commonalities:
In the case of learning rhythm groups, those basic rhythm patterns might be easily stumbled upon. A musician may learn that pattern individually, but understanding the commonalities as a group allows for the synapses of the brain to connect these pieces of information together in a way that maps far greater quantity that is easier to access. Having an organized mental filing system allows for greater access to learned information.
~ Translation of large data sets into entirely new data sets:
Within the Music Matrix, translation of existing bodies of information into new bodies of information creates an instant download of information. To use an example: A pyramid maps out the 15 potential 2 strings pairs found within 6 strings. In learning this simply pyramid, you can translate those string patterns into rhythm patterns of 1/4 and 1/8 notes. This maps all potentials in 4/4 time having TWO 1/4 notes and FOUR 1/8 notes. In learning the simple String Pyramid, you instantly translate it into a map of 15 rhythm patterns. The matrix is full of ways to translate large groups of information to create rapid learning.
~ Evolution of sound dynamics within society:
The outcome of the Music Matrix is the creation of "the new sound". The days of simply using some cool drum loop without understanding it, and the days of simply coming up with a cool melody without knowing why it is cool is soon coming to an end. Creating without consciousness awareness is nearing an end. The success of the Music Matrix will spread a musical revolution that elevates the sound in multidirectional ways.
HOW?: By creating maps for organizing and understanding the patterns people choose from will bring a heightened state of consciousness within music composition. Add onto that the deeper understanding of various forms of musical symmetry within the creation process and suddenly you get a very potent new type of sound. Furthermore, add in other types of relationships such as syncopation ratios, shadow patterns, synergy sound, and other relationship forms... and you get a rapid global transformation of sound. This mapping out of pattern potentials not commonly named or acknowledged in traditional theory will literally introduce a flood of new sounds rarely explored. Having these tools for mentally tracking the potential will be a great catalyst for integration within playing.
In the case of the 4211 rhythm pattern, you can plot those four rhythms notes on a single wheel and learn 12 variations from it visually. In another example, you can take the notes 3,2,1,1,1. From this group of five notes, you get TWO PENTAGONS with 20 different rhythm patterns. That means you are learning 20 rhythms with shared commonalities at the same time. Usually musicians only learn one at a time.
Symmetry is another way of learning multiple pieces of information at once. In seeing symmetry, you can learn one pattern and automatically see another as well by understanding symmetry. If you know how to figure out "Shadow", you can take a single pattern then find its shadow, then its symmetry, then the shadow pattern from that symmetry. Thus you learn 4 patterns from that singular pattern with complementary sounds. ("shadow" flips the played notes with the unplayed notes to create new rhythms.)
Patterns of movement are another way of grouping. A chord progression may follow a TRAVEL PATTERN that other progressions follow as well, just as all Major Scales all follow the same travel pattern. In the "I-IV-V" progression, the "ii-V-vi" progression shares the same travel pattern, just at a different starting point. If you take the remaining 5 progressions with the same travel pattern, you get 7 progressions part of the same group.The group also becomes a mental reference point of recalling the individual progressions.
Since there are so many ways to group information, Group Theory has many applications, too many to mention here. Point is that by learning what their commonality is, you don't have to relearn that commonality part over and over, like you would if you learned them randomly on their own. It saves time processing less information.
THE BENEFITS INCLUDE:
~ Understanding and observing pattern commonalities:
In the case of learning rhythm groups, those basic rhythm patterns might be easily stumbled upon. A musician may learn that pattern individually, but understanding the commonalities as a group allows for the synapses of the brain to connect these pieces of information together in a way that maps far greater quantity that is easier to access. Having an organized mental filing system allows for greater access to learned information.
~ Translation of large data sets into entirely new data sets:
Within the Music Matrix, translation of existing bodies of information into new bodies of information creates an instant download of information. To use an example: A pyramid maps out the 15 potential 2 strings pairs found within 6 strings. In learning this simply pyramid, you can translate those string patterns into rhythm patterns of 1/4 and 1/8 notes. This maps all potentials in 4/4 time having TWO 1/4 notes and FOUR 1/8 notes. In learning the simple String Pyramid, you instantly translate it into a map of 15 rhythm patterns. The matrix is full of ways to translate large groups of information to create rapid learning.
~ Evolution of sound dynamics within society:
The outcome of the Music Matrix is the creation of "the new sound". The days of simply using some cool drum loop without understanding it, and the days of simply coming up with a cool melody without knowing why it is cool is soon coming to an end. Creating without consciousness awareness is nearing an end. The success of the Music Matrix will spread a musical revolution that elevates the sound in multidirectional ways.
HOW?: By creating maps for organizing and understanding the patterns people choose from will bring a heightened state of consciousness within music composition. Add onto that the deeper understanding of various forms of musical symmetry within the creation process and suddenly you get a very potent new type of sound. Furthermore, add in other types of relationships such as syncopation ratios, shadow patterns, synergy sound, and other relationship forms... and you get a rapid global transformation of sound. This mapping out of pattern potentials not commonly named or acknowledged in traditional theory will literally introduce a flood of new sounds rarely explored. Having these tools for mentally tracking the potential will be a great catalyst for integration within playing.
II. VARIOUS ILLUSTRATIONS INTRODUCED
The following illustrations are a hand full of systems from a much larger pool created between the years 2001 and 2025. What you are about to review is more on the TECHNICAL WORKINGS of the systems with a dense concentration of knowledge. The actual apps will be mostly visual and audio without the heavy reading and with visual automation training. Most here are hand drawn, so you'll have to excuse the unpolished crudeness. They will eventually be turned into fine tuned digital form, but the quantity of systems designs is possibly close to a few hundred.
This is just a small taste in comparison.
This is just a small taste in comparison.
These Designs are not for publication without permissions and are for viewing purposes only until they are officially launched.
ALL RIGHTS RESERVED.
Please use discretion in sharing this information.
Thank you for reviewing them.
ALL RIGHTS RESERVED.
Please use discretion in sharing this information.
Thank you for reviewing them.
STRING PYRAMID
15 potential sets of 2 strings
2 STRING PYRAMID:
GENERAL DESCRIPTION: These are all the potential sets of 2 strings on a guitar. There are starting pathway patterns not show here that are on additional illustrations that allow easier learning going through all 15 sets. Because they’re in sequence, it’s easy to learn and play from the start. Once the app is developed, there will be animated/ automated visual unfolding of sequenced patterns with sounds.
SKILL LEVEL: A beginner can start immediately following the given patterns and playing melodic sounding base compositions.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ Creating rhythm patterns in 4/4 using 1/4 notes for the lines and 1/8 notes for the dots.
~ i Inversion of pyramid to get the 15 4-String potentials by taking the unplayed notes.
~ Geometric triangle illustration showing 15 possible combinations comprised of 3 sets of two strings to combine forming all 6-strings.
~ Convert into I-Ching to create loops of I-Ching meaning based off of musical patterns.
GENERAL DESCRIPTION: These are all the potential sets of 2 strings on a guitar. There are starting pathway patterns not show here that are on additional illustrations that allow easier learning going through all 15 sets. Because they’re in sequence, it’s easy to learn and play from the start. Once the app is developed, there will be animated/ automated visual unfolding of sequenced patterns with sounds.
SKILL LEVEL: A beginner can start immediately following the given patterns and playing melodic sounding base compositions.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ Creating rhythm patterns in 4/4 using 1/4 notes for the lines and 1/8 notes for the dots.
~ i Inversion of pyramid to get the 15 4-String potentials by taking the unplayed notes.
~ Geometric triangle illustration showing 15 possible combinations comprised of 3 sets of two strings to combine forming all 6-strings.
~ Convert into I-Ching to create loops of I-Ching meaning based off of musical patterns.
S.O.S. HELP
Repeating Shape Patterns within the Major Scale
SOS SCALE PATTERNS:
GENERAL DESCRIPTION: The left/ above illustration uses the 15 2-String potentials to map the notes in a C Major Scale. The bottom level of pyramid is where one starts with the adjacent guitar strings. It creates a sequence repeating “ S l O l “ patterns with a unique pattern on the "32" strings. The pattern is easy to memorize. If the individual memorized the location of the root note, they can simply align the bottom right of the S and the bottom left of the O, they can easily find the note pairs on the adjacent strings. The patterns are very musical.
The "SCALE PATTERNS" illustration right/ bottom shows the patterns in the CM Scale of all potential adjacent string sets including all 6 adjacent strings, 5 adjacent string, 4 adjacent strings, and 3 adjacent strings. Since the 2 adjacent strings are already on the other illustration, they are not included. However, the two pyramids are TWO HALVES of a DIAMOND containing 25 total. In the adjacent pyramid, you will see that it is comprised of a series of lines either shifting to different frets or staying on the same. This happens with a number of other scales as well, though not all. Within the app design of this diamond, various scale options can be chosen.
SKILL LEVEL: This is a good starting point for a beginner who has a general introduction to musical scales and a bit of familiarity of fretboard layout.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ Other scales include harmonic minor, melodic minor, blues, and more.
~ A more complicated version of this will give an option to see the patterns formed in the remaining 38 potential string combinations nor represented here.
GENERAL DESCRIPTION: The left/ above illustration uses the 15 2-String potentials to map the notes in a C Major Scale. The bottom level of pyramid is where one starts with the adjacent guitar strings. It creates a sequence repeating “ S l O l “ patterns with a unique pattern on the "32" strings. The pattern is easy to memorize. If the individual memorized the location of the root note, they can simply align the bottom right of the S and the bottom left of the O, they can easily find the note pairs on the adjacent strings. The patterns are very musical.
The "SCALE PATTERNS" illustration right/ bottom shows the patterns in the CM Scale of all potential adjacent string sets including all 6 adjacent strings, 5 adjacent string, 4 adjacent strings, and 3 adjacent strings. Since the 2 adjacent strings are already on the other illustration, they are not included. However, the two pyramids are TWO HALVES of a DIAMOND containing 25 total. In the adjacent pyramid, you will see that it is comprised of a series of lines either shifting to different frets or staying on the same. This happens with a number of other scales as well, though not all. Within the app design of this diamond, various scale options can be chosen.
SKILL LEVEL: This is a good starting point for a beginner who has a general introduction to musical scales and a bit of familiarity of fretboard layout.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ Other scales include harmonic minor, melodic minor, blues, and more.
~ A more complicated version of this will give an option to see the patterns formed in the remaining 38 potential string combinations nor represented here.
EZ AS 123
chaining together the 6 sequences of 123
EZ AS 123:
GENERAL DESCRIPTION: This grid is a basic tool that has many applications. The 6x6 grid chains together the six sequences of 123 upon itself.
The previous TRIANGLE illustration to this is a triangle that has two directions, CLOCKWISE and COUNTERCLOCKWISE. It forms 6 sequences. The first set of three patterns is 123. 312, 231, The second set is 321, 213, 132. With these six potentials there are three type of relationships between them, with two types of symmetry relationships: PATH SYMMETRY and SEQUENCE SYMMETRY.
PATH SYMMETRY is the shape of the path created from beginning to end of sequence.
The pairings are 213-231, 132-312, and 123-321. If you were to take 3 strings and draw the path, it is a mirror FORM.
TIME SYMMETRY where the pattern is symmetrical in time. This is the equivalent of playing the pattern backwards. The pairs are 213-321, 132-231, and 123-321. You'll notice the numbers are symmetrical/ reverse. You'll also notice that the 123-321 contains both types of symmetry. The types of symmetry have their own unique type sounds that are very distinct.
ASYMMETRICAL is the third type of relationship with 20 pairs total between 2 groups shown in Orange and Green.
Within the GREEN PATTERNS you have a COMMON PAIR of digits repeating. Because of the repeating pair, it creates greater common sound. Those pairs are:
123-231, 123-312, 231-312. / 312-231, 312-123, 231-123. | 321-132, 321-213, 132-213. \ 213-132, 213-321, 132-321,
Within the ORANGE PATTERNS, you have NO PAIR with ONE NOTE in the same place with less common sound. Those pairs are:
123-213, 123-132. / 132-123, 213-123. |. 321-312, 321-231. \ 231-321, 312-321.
Within the YELLOW PATTERNS, they are just the SAME pattern repeating, meaning it has 3 NOTES IN COMMON.
SKILL LEVEL: This illustration is a level up from a starting illustration focusing on the teaching the 6 potentials. A beginner can use it, but may need the stepping stone. Before even memorizing all these patterns, understanding this relationships is key and getting a feel of the unique sound they create.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ Because of the simplicity of this as a building block, there are many expansions of this that connect in.
~ Previous to this is the "ABC-123" app that teaches these 6 base patterns in a more focused way with different variations of sound.
~ In this family of apps around these patterns is another with 36 potentials of one of the variables used twice such as "1132" and "3231".
~ This system connects into "The Beatz Matrix" rhythm grid in that the 123 patterns translate into rhythms within 6/8 (3/4) time.
GENERAL DESCRIPTION: This grid is a basic tool that has many applications. The 6x6 grid chains together the six sequences of 123 upon itself.
The previous TRIANGLE illustration to this is a triangle that has two directions, CLOCKWISE and COUNTERCLOCKWISE. It forms 6 sequences. The first set of three patterns is 123. 312, 231, The second set is 321, 213, 132. With these six potentials there are three type of relationships between them, with two types of symmetry relationships: PATH SYMMETRY and SEQUENCE SYMMETRY.
PATH SYMMETRY is the shape of the path created from beginning to end of sequence.
The pairings are 213-231, 132-312, and 123-321. If you were to take 3 strings and draw the path, it is a mirror FORM.
TIME SYMMETRY where the pattern is symmetrical in time. This is the equivalent of playing the pattern backwards. The pairs are 213-321, 132-231, and 123-321. You'll notice the numbers are symmetrical/ reverse. You'll also notice that the 123-321 contains both types of symmetry. The types of symmetry have their own unique type sounds that are very distinct.
ASYMMETRICAL is the third type of relationship with 20 pairs total between 2 groups shown in Orange and Green.
Within the GREEN PATTERNS you have a COMMON PAIR of digits repeating. Because of the repeating pair, it creates greater common sound. Those pairs are:
123-231, 123-312, 231-312. / 312-231, 312-123, 231-123. | 321-132, 321-213, 132-213. \ 213-132, 213-321, 132-321,
Within the ORANGE PATTERNS, you have NO PAIR with ONE NOTE in the same place with less common sound. Those pairs are:
123-213, 123-132. / 132-123, 213-123. |. 321-312, 321-231. \ 231-321, 312-321.
Within the YELLOW PATTERNS, they are just the SAME pattern repeating, meaning it has 3 NOTES IN COMMON.
SKILL LEVEL: This illustration is a level up from a starting illustration focusing on the teaching the 6 potentials. A beginner can use it, but may need the stepping stone. Before even memorizing all these patterns, understanding this relationships is key and getting a feel of the unique sound they create.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ Because of the simplicity of this as a building block, there are many expansions of this that connect in.
~ Previous to this is the "ABC-123" app that teaches these 6 base patterns in a more focused way with different variations of sound.
~ In this family of apps around these patterns is another with 36 potentials of one of the variables used twice such as "1132" and "3231".
~ This system connects into "The Beatz Matrix" rhythm grid in that the 123 patterns translate into rhythms within 6/8 (3/4) time.
PERSONAL BIOSPHERE
64 Potentials: Cube, Sphere, Octahedron
PERONSAL BIOSPERE:
GENERAL DESCRIPTION: The shape was originally created with the 8 quadrants of a sphere with the individual in the center. The final shape may be one or more of the following Cube, Sphere, and-or Octahedron. The binary patterns shown are created by placing the 6 strings of the guitar as different points on the XYZ axises. They create 64 potentials that are the same as in I-Ching.
The pieces that make it up are points, lines, planes, and spaces. The number of strings in a pattern determines what type of piece it is. The points are single strings. The two strings are the XYZ lines and planes. The 8 space quadrants are 8 3-string potentials. The remaining patterns form different combination of planes and spaces.
The function of the 3D Biosphere can have many applications. For those especially spatially intelligent or with kinetic intelligence, translating the patterns into physical space with geometric form and movement bridges into a familiarity of comfort for there style of learning. For others, it draws in the use of other areas of the brain for learning. For those seeking a more meditative and spiritual pursuit, translating the meaning of the I-Ching patterns in physical spaces around us can be quite powerful in externalizing. Even if it can be proven that the correlation holds truth, at the minimal, it offers a level of organization.
SKILL LEVEL: The teaching of this method for mapping patterns does not require a background of music, so it's suitable for a beginner. At the same time, these binary codes can translate into a number of things including various rhythm patterns and even chord progression. In this, there is potential to go down large rabbit holes suitable for the more advanced players.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ Additional Platonic Solid shapes tie into this that have their own systems based on different quantities of binary strands, such as the 16 potentials of 4 variables.
~ The potentials of translating the 64 Patterns can go in many different directions including the rhythms, progressions, data sets containing 6 potentials, and more.
~ In addition to translating, the framework for this can contain anything that can be plotted upon the XYZ axises.
~ As this is a grandmaster illustration, it unifies many pieces together.
GENERAL DESCRIPTION: The shape was originally created with the 8 quadrants of a sphere with the individual in the center. The final shape may be one or more of the following Cube, Sphere, and-or Octahedron. The binary patterns shown are created by placing the 6 strings of the guitar as different points on the XYZ axises. They create 64 potentials that are the same as in I-Ching.
The pieces that make it up are points, lines, planes, and spaces. The number of strings in a pattern determines what type of piece it is. The points are single strings. The two strings are the XYZ lines and planes. The 8 space quadrants are 8 3-string potentials. The remaining patterns form different combination of planes and spaces.
The function of the 3D Biosphere can have many applications. For those especially spatially intelligent or with kinetic intelligence, translating the patterns into physical space with geometric form and movement bridges into a familiarity of comfort for there style of learning. For others, it draws in the use of other areas of the brain for learning. For those seeking a more meditative and spiritual pursuit, translating the meaning of the I-Ching patterns in physical spaces around us can be quite powerful in externalizing. Even if it can be proven that the correlation holds truth, at the minimal, it offers a level of organization.
SKILL LEVEL: The teaching of this method for mapping patterns does not require a background of music, so it's suitable for a beginner. At the same time, these binary codes can translate into a number of things including various rhythm patterns and even chord progression. In this, there is potential to go down large rabbit holes suitable for the more advanced players.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ Additional Platonic Solid shapes tie into this that have their own systems based on different quantities of binary strands, such as the 16 potentials of 4 variables.
~ The potentials of translating the 64 Patterns can go in many different directions including the rhythms, progressions, data sets containing 6 potentials, and more.
~ In addition to translating, the framework for this can contain anything that can be plotted upon the XYZ axises.
~ As this is a grandmaster illustration, it unifies many pieces together.
CHORD PAIRING AND PROGRESSIONS
The different potential parts of the I-vii* chords
The 21 Pairs of Chords in I-vii*The 21 CHORD PAIRS:
GENERAL DESCRIPTION: This illustration maps the 21 pairs in 3 groups of 7. When you play two chords sequentially, the distance between them on a scale creates a unique energy feel. I-IV and V-! chords have a fluid watery feel, as compared to adjacent chords. This illustration groups pairs in families with similar distance traveled. You can invert the pairs, but there is still a common sound. The 0, 1, and 2 notes in common applies only to keeping these in their base forms of Major, minor, and diminished. There will change when you start growing them to larger more complex chords. As a note, this illustration also includes "Piano Symmetry" from left to right, meaning the mathematical spacing is a mirror from side to side. Using both the D note and the G#/Ab note as mirror points in the Key of C, the symmetry pairs are I-vii, ii-V, and iii-IV with vii* self-symmetrical.The mathematical symmetry translates to any key though. SKILL LEVEL: This illustration is good for a beginner starting out, but as you begin adding in more complex chords, the level of skill needed will rise. ADDITIONAL TRANSLATIONS and EXPANSIONS: ~ In flipping this illustration to the shadow version (unplayed chords), you get 21 groups of 5 chords that can be sequence into 5 chord progression. ~ The 21 pairs can also be translated into 21 unique 3 note rhythm patters. The key to do this is seen in the Chakra Rhythms description. |
Shaping Chord ProgressionsSHAPING PROGRESSIONS:
GENERAL DESCRIPTION: This 7-Pointed star is a way to translate chord progressions into geometric shapes, but it also shows the new chords that are created through the fusion of two chords in their base form, such as CM+Em=Cmaj7. The geometric shapes drawn below the image are some of the common patterns created through a mixed quantity of chords in the progression. The potential chord groups, as seen with the example of the 21 pairs of two chords, are these: 1 chord = 7 potentials. 2 chords = 21 pairs. 3 chords = 35. 4 chords = 35. 5 chords = 21. 6 chords = 7. All 7 chords is 1 group. There are 127 potential group shapes possible with many different sequences. At 3 chords, the math goes 35 groups x 6 sequences = 210 three chord progressions. At 4 chords in a group, the math goes 35 groups x 24 sequences = 840 four chord progressions. So in all those potentials, you can find some interesting geometric shapes created from them. SKILL LEVEL: To start using this might be a second level beginner with a foundational familiarity to the concept of chords and chord progressions. There is a lot of room for rapid growth in this. ADDITIONAL TRANSLATIONS and EXPANSIONS: ~ The 35 groups of 3 Chords that form the triangles is a separate illustration not shown here. ~ Additional mapping of the geometric potentials. ~ The progression groups and shapes also map out into rhythm patterns within the Chakra Rhythms. Every 1 of the 127 groups has its own rhythm pattern. |
ELEMENTAL ENTRAINMENT
5 Element System
ELEMENTAL ENTRAINMENT:
GENERAL DESCRIPTION: This system has a large scope of application including energetic, psychological, physiological, sociological, metaphysical, and even musical. This is an app design for a multitude of navigations through life situations. Aligned with the Chinese 5-Elements, there are two cycles and two directions each. The CLOCKWISE motion on the PENTAGON is the creation cycle that nurtures, also called the parent cycle. For example, the WATERS of community nurtures the WOOD of emotions and sense of belonging. That WOOD of esteem feeds the FIRES of passion and creation of new EARTH.
The CLOCKWISE PENTAGRAM (the star) is the "control cycle, or rather DISCIPLINE tied to the Grandparent cycle. The MENTAL METAL helps to use structured thought to "cut" through the knotted WOOD emotions that are overgrown. The self-realization and identity within WOOD helps to bind and ground EARTH from slipping and moving away.
Between the PENTAGON and PENTAGRAM in both CLOCKWISE and COUNTERCLOCKWISE directions, there are 20 unique types of interactions. These interactions are direct reflections of natural orders that goes with the saying "you can't fight Fire with Fire". However, you can tame it with the Water of compassion or contain it within a structured Metal Pit that gives it order and boundaries to prevent it from running wild.
The understanding of these types of relationships within many applications can greatly shape and redirect how people approach conflicts and interactions with others. Even Maslov's famous "Hierarchy of Needs" falls perfectly into this with EARTH on the bottom with basic needs, METAL above with structure and security, WATER above that with community, love, and relationships, WOOD above that with sense of position and purpose in community with "Self-Realization", and lastly FIRE on top with "Self-Actualization" that goes with creation and manifesting within one's true spiritual potential. This Hierarchy of Needs follows exactly the Creation Cycle.
Bringing things back to music, in the same way that this cycle of 5 applies to everything, these energies are directly tied to sound manifestations. All intervals are the foundational building block for all music, just as the elements are foundational.
Here is the interval/ elemental translation:
m2/ M7 = EARTH m2 is very dense sounding much like Earth. Because the notes are only slightly distant, their harmonics clash with many more overtones.
M2/ m7 = WOOD M2 is not as dense sounding, but still a bit. M2 travels much like wood grows forming patterns.
m3/ M6 = METAL m3 is a very structural interval at a right angle to the Root note. Like metal, m3 can seem hot or cold depending of whats around.
M3/ m6 = FIRE M3 is much brighter and warmer just on its own. The Augmented chord of M3-M3 is very igniting and bright forming a Triangle.
P4/ P5 = WATER P4ths and P5ths create the fluidity of the keys and the flow creating Circle of 5ths. They are very soft flowing with least resistance.
dim 5 = CARBON Carbon is a 6th element not traditionally recognized, but it is at the center of all 5 with a neutralizing and "diminishing" property that bring all of the other elements into a place of stillness.
While there is a degree of subjectivity with any feeling, whether it's how to describe the feeling a chord or interval makes or the feeling of an element, the properties described above seems somewhat self-evident. Perhaps in time, these parallels can be scientifically proven. Perhaps the parts of the brain that are activated by both these elements and by the musical intervals can be measured and cross referenced.
For how many ever hundreds or thousands of years, beginning musicians held curiosity of why a Major chord has a bright and "happy" feeling while a minor chords has a "sad" or "somber" feeling. Without explanation, they eventually stop asking. In exploring the Elemental Theory, the suggested answer is that it is the stacking of different types of energy frequencies.
So lets look at chords as stacked energy forms. In the case of a Major chord, the Fire is on the bottom as a foundational base with Metal above. The parallel analogy that comes to mind is metal being placed in a bright fire or forge to melt and become malleable. Perhaps this is the equivalent of a Fiery Passion melting the structure of a hardened Mental Mind.
In the case of a Minor Chord, the Metal is on the bottom with the Fire on top. The first thing that comes to mind with that is a Metallic fire pit with a Fire burning on top of it. The metal dominates the fire preventing if from spreading ablaze and running to wild. One can almost feel the sound of a minor chord fitting in with a cool night sitting around a fire pit.
For some people, they might find some truth in this system for using the principles of understanding music from an emotional and natural intelligence level. Regardless of whether or not its fact or fiction, we can't ignore the language written into music: The ROOT of a tree is WOOD in EARTH. The ROOT NOTE is very important in music. And while Chords are in music, CORDS of are also stacks of WOOD that are cut with METAL. Then there are NOTES that are also PIECES of paper made from WOOD. STAFFS as well help us take steps and have been often also made of WOOD. Bottom line is that the growth of chords and music take the formation of a tree with roots, body, and leaves on top The creation of music is a direct reflection of nature herself.
SKILL LEVEL: Since the interval are the foundational starting point of music, it's suitable for any level.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ As mentioned, the basic design shown is just a simple illustration that will be built off of. So the app design will be outside of the Music Matrix, but still tied to it. The focus within this app also delves into a phycological and energetic field for assisting others within their life. The musical applications are a side translation.
~ A book is currently being written on the Elemental Entrainment that will parallel the app.
GENERAL DESCRIPTION: This system has a large scope of application including energetic, psychological, physiological, sociological, metaphysical, and even musical. This is an app design for a multitude of navigations through life situations. Aligned with the Chinese 5-Elements, there are two cycles and two directions each. The CLOCKWISE motion on the PENTAGON is the creation cycle that nurtures, also called the parent cycle. For example, the WATERS of community nurtures the WOOD of emotions and sense of belonging. That WOOD of esteem feeds the FIRES of passion and creation of new EARTH.
The CLOCKWISE PENTAGRAM (the star) is the "control cycle, or rather DISCIPLINE tied to the Grandparent cycle. The MENTAL METAL helps to use structured thought to "cut" through the knotted WOOD emotions that are overgrown. The self-realization and identity within WOOD helps to bind and ground EARTH from slipping and moving away.
Between the PENTAGON and PENTAGRAM in both CLOCKWISE and COUNTERCLOCKWISE directions, there are 20 unique types of interactions. These interactions are direct reflections of natural orders that goes with the saying "you can't fight Fire with Fire". However, you can tame it with the Water of compassion or contain it within a structured Metal Pit that gives it order and boundaries to prevent it from running wild.
The understanding of these types of relationships within many applications can greatly shape and redirect how people approach conflicts and interactions with others. Even Maslov's famous "Hierarchy of Needs" falls perfectly into this with EARTH on the bottom with basic needs, METAL above with structure and security, WATER above that with community, love, and relationships, WOOD above that with sense of position and purpose in community with "Self-Realization", and lastly FIRE on top with "Self-Actualization" that goes with creation and manifesting within one's true spiritual potential. This Hierarchy of Needs follows exactly the Creation Cycle.
Bringing things back to music, in the same way that this cycle of 5 applies to everything, these energies are directly tied to sound manifestations. All intervals are the foundational building block for all music, just as the elements are foundational.
Here is the interval/ elemental translation:
m2/ M7 = EARTH m2 is very dense sounding much like Earth. Because the notes are only slightly distant, their harmonics clash with many more overtones.
M2/ m7 = WOOD M2 is not as dense sounding, but still a bit. M2 travels much like wood grows forming patterns.
m3/ M6 = METAL m3 is a very structural interval at a right angle to the Root note. Like metal, m3 can seem hot or cold depending of whats around.
M3/ m6 = FIRE M3 is much brighter and warmer just on its own. The Augmented chord of M3-M3 is very igniting and bright forming a Triangle.
P4/ P5 = WATER P4ths and P5ths create the fluidity of the keys and the flow creating Circle of 5ths. They are very soft flowing with least resistance.
dim 5 = CARBON Carbon is a 6th element not traditionally recognized, but it is at the center of all 5 with a neutralizing and "diminishing" property that bring all of the other elements into a place of stillness.
While there is a degree of subjectivity with any feeling, whether it's how to describe the feeling a chord or interval makes or the feeling of an element, the properties described above seems somewhat self-evident. Perhaps in time, these parallels can be scientifically proven. Perhaps the parts of the brain that are activated by both these elements and by the musical intervals can be measured and cross referenced.
For how many ever hundreds or thousands of years, beginning musicians held curiosity of why a Major chord has a bright and "happy" feeling while a minor chords has a "sad" or "somber" feeling. Without explanation, they eventually stop asking. In exploring the Elemental Theory, the suggested answer is that it is the stacking of different types of energy frequencies.
So lets look at chords as stacked energy forms. In the case of a Major chord, the Fire is on the bottom as a foundational base with Metal above. The parallel analogy that comes to mind is metal being placed in a bright fire or forge to melt and become malleable. Perhaps this is the equivalent of a Fiery Passion melting the structure of a hardened Mental Mind.
In the case of a Minor Chord, the Metal is on the bottom with the Fire on top. The first thing that comes to mind with that is a Metallic fire pit with a Fire burning on top of it. The metal dominates the fire preventing if from spreading ablaze and running to wild. One can almost feel the sound of a minor chord fitting in with a cool night sitting around a fire pit.
For some people, they might find some truth in this system for using the principles of understanding music from an emotional and natural intelligence level. Regardless of whether or not its fact or fiction, we can't ignore the language written into music: The ROOT of a tree is WOOD in EARTH. The ROOT NOTE is very important in music. And while Chords are in music, CORDS of are also stacks of WOOD that are cut with METAL. Then there are NOTES that are also PIECES of paper made from WOOD. STAFFS as well help us take steps and have been often also made of WOOD. Bottom line is that the growth of chords and music take the formation of a tree with roots, body, and leaves on top The creation of music is a direct reflection of nature herself.
SKILL LEVEL: Since the interval are the foundational starting point of music, it's suitable for any level.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ As mentioned, the basic design shown is just a simple illustration that will be built off of. So the app design will be outside of the Music Matrix, but still tied to it. The focus within this app also delves into a phycological and energetic field for assisting others within their life. The musical applications are a side translation.
~ A book is currently being written on the Elemental Entrainment that will parallel the app.
FLOWER OF LIFE PYRAMID
The 55 possible Tritones forms in 12 notes
FLOWER OF LIFE:
GENERAL DESCRIPTION: This pyramid maps all 55 possible Tritone Forms and Chords in a span of 12 notes. This is a good example of how converting intervals into whole numbers can be very beneficial. This illustration was only possible through doing this. To reiterate, the numbers represent the # of notes sandwiched between two chord notes.
At the very center of it all is the Augmented Chord "33", a M3,M3. The synchronicity is that if you put an Augmented Chord on a clock if forms an equilateral triangle, much like the shape of this illustration. If you were to convert the intervals to the Elements described in Elemental Entrainment, the center would be FIRE-FIRE.
In the next ring out orbiting this central sun, you get the Major and minor chords and their inversions. On the next ring out, you have the Star of David on it containing the diminished chord and inversions and the Sus chords and inversions. On the Points of that Hexagon in orange are the b5 chord "31", its two inversions, and their symmetry. Normally the b5 inversion and their symmetry are NOT considered chords, but they are tied together. The perimeter of this Hexagon in Gold is actually the boundary where the Tritones stop being recognized as chords.
LOOKING AT THE MATH: The three note forms on the horizontal levels share the same sum when added.For example 50, 41, 32, 23, 14, 05. Each share the sum of 5. As you move up or down, 1 is either added or subtracted to the left or right digit.
If your desire is to find Tritones that expand beyond an octave, you will need to add sub levels to the illustration with next level down having all pairs adding to sum of 10. A level below that is 11, and so on.
The benefit of showing all the potentials is that when someone crosses such a pattern within music, they already have familiarity with it and can better recall it through a mental perspective rather than just sound memory. As the Flower of Life is an ancient design seen in many cultures, it's likely that a lot of users will layer on their own esoteric and metaphysical interpretations to it. Adding those kinds of things might come later one, but for now, we'll keep it more just mathematical and geometry, though translating them into stacked elements might also be useful to those with strong natural and emotional intelligence.
SKILL LEVEL: The complexity of simply understanding how to create chord forms based on these numbers is easy enough for a little kid that can count. At the same time though, there are some basics that might be needed with regard to applying this knowledge into creating music.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ There are additional levels and illustrations that go with this to make it more applicable. One illustration that might be just a translation key shows all the ways these forms fit on the CM scale, with 10 of the 55 not fitting into the M scale. This option will be made available for all scales to save the user much time trying to find out where they fit. This make make the illustration ready for immediate application.
~ As this was formed off of binary patterns, it can easily be converted into rhythm patterns. There are multiple ways to do this, so a single pattern can have multiple rhythm potentials depending on what parameters you input.
~ While this single illustration show 55 patterns of 3 note forms within 12 notes, there is another illustration more complex that shows all the potential 4 note forms possible within 12 notes with 165 total. This includes all the recognized 4 note chords and their inversions.
GENERAL DESCRIPTION: This pyramid maps all 55 possible Tritone Forms and Chords in a span of 12 notes. This is a good example of how converting intervals into whole numbers can be very beneficial. This illustration was only possible through doing this. To reiterate, the numbers represent the # of notes sandwiched between two chord notes.
At the very center of it all is the Augmented Chord "33", a M3,M3. The synchronicity is that if you put an Augmented Chord on a clock if forms an equilateral triangle, much like the shape of this illustration. If you were to convert the intervals to the Elements described in Elemental Entrainment, the center would be FIRE-FIRE.
In the next ring out orbiting this central sun, you get the Major and minor chords and their inversions. On the next ring out, you have the Star of David on it containing the diminished chord and inversions and the Sus chords and inversions. On the Points of that Hexagon in orange are the b5 chord "31", its two inversions, and their symmetry. Normally the b5 inversion and their symmetry are NOT considered chords, but they are tied together. The perimeter of this Hexagon in Gold is actually the boundary where the Tritones stop being recognized as chords.
LOOKING AT THE MATH: The three note forms on the horizontal levels share the same sum when added.For example 50, 41, 32, 23, 14, 05. Each share the sum of 5. As you move up or down, 1 is either added or subtracted to the left or right digit.
If your desire is to find Tritones that expand beyond an octave, you will need to add sub levels to the illustration with next level down having all pairs adding to sum of 10. A level below that is 11, and so on.
The benefit of showing all the potentials is that when someone crosses such a pattern within music, they already have familiarity with it and can better recall it through a mental perspective rather than just sound memory. As the Flower of Life is an ancient design seen in many cultures, it's likely that a lot of users will layer on their own esoteric and metaphysical interpretations to it. Adding those kinds of things might come later one, but for now, we'll keep it more just mathematical and geometry, though translating them into stacked elements might also be useful to those with strong natural and emotional intelligence.
SKILL LEVEL: The complexity of simply understanding how to create chord forms based on these numbers is easy enough for a little kid that can count. At the same time though, there are some basics that might be needed with regard to applying this knowledge into creating music.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ There are additional levels and illustrations that go with this to make it more applicable. One illustration that might be just a translation key shows all the ways these forms fit on the CM scale, with 10 of the 55 not fitting into the M scale. This option will be made available for all scales to save the user much time trying to find out where they fit. This make make the illustration ready for immediate application.
~ As this was formed off of binary patterns, it can easily be converted into rhythm patterns. There are multiple ways to do this, so a single pattern can have multiple rhythm potentials depending on what parameters you input.
~ While this single illustration show 55 patterns of 3 note forms within 12 notes, there is another illustration more complex that shows all the potential 4 note forms possible within 12 notes with 165 total. This includes all the recognized 4 note chords and their inversions.
RHYTHM ROSE
The 16 binary potentials (3-in common)
RHYTHM ROSE:
GENERAL DESCRIPTION: This image represents the 16 binary potentials within a strand of 4 binary. The binary of A and B Is used in this illustration, but these variables can be replaced with any duality. A drummer will likely to replace them with Left and Right (L-R). A rhythm guitarist might find use in replacing it with strumming Up and Down (U-D). This system is good for really anything that uses alternating dualities, which is a lot of things.
The lines connecting the binary patterns only connect those patterns that have 3 of the variables in common. Every pattern has 4 other patterns that have 3 of the same. This creates a close but different sound with minimal variation. In creating pathways, you can create a number of shapes through loops that return to the start pattern. Any loop or shape that your create will alway happen as a multiple of 4.
When this system is launched, the pathways can be selected and then automated with sound and visual to play for the individual at the tempo that is comfortable for their practice. They'll also be able to choose the parameters of what A and B are.
SKILL LEVEL: This is more of a second or third level illustration, but it suitable for most beginners. There are also smaller systems for 3 variables as well.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ There various additional illustrations that go with this including a map of various shape patterns. Within the app, people will be able to see these patterns mapped out.
~ As this illustration connects all the patterns that have 3 variables in common for a common sound, there is also illustrations that connect both 2 in Common and 1 in Common. There may also be an additional illustration to connect all three of these onto a single design.
~ There are other various system designs that explore binary potentials in different ways which this app/ software design can connect too.
GENERAL DESCRIPTION: This image represents the 16 binary potentials within a strand of 4 binary. The binary of A and B Is used in this illustration, but these variables can be replaced with any duality. A drummer will likely to replace them with Left and Right (L-R). A rhythm guitarist might find use in replacing it with strumming Up and Down (U-D). This system is good for really anything that uses alternating dualities, which is a lot of things.
The lines connecting the binary patterns only connect those patterns that have 3 of the variables in common. Every pattern has 4 other patterns that have 3 of the same. This creates a close but different sound with minimal variation. In creating pathways, you can create a number of shapes through loops that return to the start pattern. Any loop or shape that your create will alway happen as a multiple of 4.
When this system is launched, the pathways can be selected and then automated with sound and visual to play for the individual at the tempo that is comfortable for their practice. They'll also be able to choose the parameters of what A and B are.
SKILL LEVEL: This is more of a second or third level illustration, but it suitable for most beginners. There are also smaller systems for 3 variables as well.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ There various additional illustrations that go with this including a map of various shape patterns. Within the app, people will be able to see these patterns mapped out.
~ As this illustration connects all the patterns that have 3 variables in common for a common sound, there is also illustrations that connect both 2 in Common and 1 in Common. There may also be an additional illustration to connect all three of these onto a single design.
~ There are other various system designs that explore binary potentials in different ways which this app/ software design can connect too.
CHAKRA RHYTHMS
CHAKRA RHYTHMS:
GENERAL DESCRIPTION: The rhythms within this approach are formulated out of binary to contain 128 rhythm potentials.For those that don't know of Chakras or do not agree with them, these patterns can also be turned horizontally and just used as the 7 colors of the rainbow. The benefit of viewing it as energy centers within us though is that it becomes a meditative practice that ties our visualization into spatial awareness, as we imagine the movement through space.
How It Works: The theory is that in the idea sense there should be a stream of energy flowing from root to crown continuously without obstruction. If it were to have a sound to it, it would be a continuous tone. The rhythm pattern for this would be just a WHOLE NOTE, which technically isn't rhythm. It is the blank "8" pattern in the top left corner of the boxes. In the theory of a continuous flow of energy much like a smooth flowing stream, if you were place something in the middle, that flow would be divided into two. Since we are using 8/8 time, dividing it into two would be two sets of 4. On the top you will see the single GREEN SPHERE representing the HEART CHAKRA. The rhythm pattern 44, or Two Half Notes. The heart chakra thus creates a rhythm pattern by splitting the stream or Whole Note into two equal pieces.
If you add in the 6th Chakra as well, the third eye, then you spilt the upper 1/2 note once again creating the pattern 422, a half-note followed by two quarter-notes.
If you look at the top pattern with all 7 Chakras representing, there are 7 dividers put into that flow creating 8 separate pieces and the rhythm 11111111, or 8 1/8th notes.
Whether or not there is energetic truth to the rhythm patterns to chakra activation correlation, the patterns created are created by the dividing a span into 8 pieces using 7 dividers. That's just what it is.
As an added note, the image displayed represents only about half of the patterns with the rest on another page. The groupings of these pattern together is based on rhythm looping with exception of the two note rhythms. For example: 413, 341, 134. The are all just different starting points on the same loop of (...413413413...). In some cases, the symmetrical rhythm is in the same loop group. In other cases its in a different loop going in an opposite direction. Then there is the self-symmetrical rhythms such as 21212. With all these symmetrical pairs, it also reflects back to the chakra patterns with the Heart Center as the symmetry point. For example, two bottom chakras is symmetrical to the two top chakras creating 116 and 611 respectively. Whether or not people believe in chakras or not, this is a tool for visually and spatially tracking the128 rhythm patterns 1/8 note and greater in 8/8 time.
The depth of how far someone decides to go in using this tool is up to them. Perhaps some will just perceive it as a colorful pretty rainbow tool that allows them to keep track of beats through different combinations of colors. That's still beneficial. But perhaps others may take it much deeper to not only meditate on the combinations of different chakras activated together creating beats, but they may even explore the deeper meaning of them. Perhaps they visualize the Red Root Chakra (1st) and the Indigo Third Eye Chakra (6th). One possible meaning is that of intuitively navigating (6th) the material world with grounding (1st). The beat pattern for that is 152.
Again, this is just theory and the individual can take it as far as they want. The design for this is as simple as the 7 Colors of the Rainbow ascending up frequency vertically with also a horizontal representation.
SKILL LEVEL: Since this software app is designed to create musical patterns through colors with corresponding music patterns, really it is good for anyone. The movement animation will travel with the progression of sound so that anyone of any language can just watch, listen, and learn these different patterns.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ There are chakra like system designs similar looking to this. In one theory design, it takes the black and white patterns on the piano with the root starting at the C key. It it aligns 12 colors and overlaps an alternating cycle of 12 Major and 12 minor chords with their inversions to create a melodic cycle contained in that 12 note span.
~ These 128 beats are represented within the "Beatz Matrix" Grid, so there will be a key bridge between the two systems.
~ The arranging of the groupings on this image is by the loops of the rhythm, this means that these grouped patterns have a common sound between them. At the same time though, if we were to group them by the 7 Colors, you'd create an entirely new sound dynamic with new sound interactions.For example, two adjacent colors creates different rhythms in different places: 116, 215, 314, 413, 512, 611. This shifting size value of notes in a sequential way creates entirely new sounds.
GENERAL DESCRIPTION: The rhythms within this approach are formulated out of binary to contain 128 rhythm potentials.For those that don't know of Chakras or do not agree with them, these patterns can also be turned horizontally and just used as the 7 colors of the rainbow. The benefit of viewing it as energy centers within us though is that it becomes a meditative practice that ties our visualization into spatial awareness, as we imagine the movement through space.
How It Works: The theory is that in the idea sense there should be a stream of energy flowing from root to crown continuously without obstruction. If it were to have a sound to it, it would be a continuous tone. The rhythm pattern for this would be just a WHOLE NOTE, which technically isn't rhythm. It is the blank "8" pattern in the top left corner of the boxes. In the theory of a continuous flow of energy much like a smooth flowing stream, if you were place something in the middle, that flow would be divided into two. Since we are using 8/8 time, dividing it into two would be two sets of 4. On the top you will see the single GREEN SPHERE representing the HEART CHAKRA. The rhythm pattern 44, or Two Half Notes. The heart chakra thus creates a rhythm pattern by splitting the stream or Whole Note into two equal pieces.
If you add in the 6th Chakra as well, the third eye, then you spilt the upper 1/2 note once again creating the pattern 422, a half-note followed by two quarter-notes.
If you look at the top pattern with all 7 Chakras representing, there are 7 dividers put into that flow creating 8 separate pieces and the rhythm 11111111, or 8 1/8th notes.
Whether or not there is energetic truth to the rhythm patterns to chakra activation correlation, the patterns created are created by the dividing a span into 8 pieces using 7 dividers. That's just what it is.
As an added note, the image displayed represents only about half of the patterns with the rest on another page. The groupings of these pattern together is based on rhythm looping with exception of the two note rhythms. For example: 413, 341, 134. The are all just different starting points on the same loop of (...413413413...). In some cases, the symmetrical rhythm is in the same loop group. In other cases its in a different loop going in an opposite direction. Then there is the self-symmetrical rhythms such as 21212. With all these symmetrical pairs, it also reflects back to the chakra patterns with the Heart Center as the symmetry point. For example, two bottom chakras is symmetrical to the two top chakras creating 116 and 611 respectively. Whether or not people believe in chakras or not, this is a tool for visually and spatially tracking the128 rhythm patterns 1/8 note and greater in 8/8 time.
The depth of how far someone decides to go in using this tool is up to them. Perhaps some will just perceive it as a colorful pretty rainbow tool that allows them to keep track of beats through different combinations of colors. That's still beneficial. But perhaps others may take it much deeper to not only meditate on the combinations of different chakras activated together creating beats, but they may even explore the deeper meaning of them. Perhaps they visualize the Red Root Chakra (1st) and the Indigo Third Eye Chakra (6th). One possible meaning is that of intuitively navigating (6th) the material world with grounding (1st). The beat pattern for that is 152.
Again, this is just theory and the individual can take it as far as they want. The design for this is as simple as the 7 Colors of the Rainbow ascending up frequency vertically with also a horizontal representation.
SKILL LEVEL: Since this software app is designed to create musical patterns through colors with corresponding music patterns, really it is good for anyone. The movement animation will travel with the progression of sound so that anyone of any language can just watch, listen, and learn these different patterns.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ There are chakra like system designs similar looking to this. In one theory design, it takes the black and white patterns on the piano with the root starting at the C key. It it aligns 12 colors and overlaps an alternating cycle of 12 Major and 12 minor chords with their inversions to create a melodic cycle contained in that 12 note span.
~ These 128 beats are represented within the "Beatz Matrix" Grid, so there will be a key bridge between the two systems.
~ The arranging of the groupings on this image is by the loops of the rhythm, this means that these grouped patterns have a common sound between them. At the same time though, if we were to group them by the 7 Colors, you'd create an entirely new sound dynamic with new sound interactions.For example, two adjacent colors creates different rhythms in different places: 116, 215, 314, 413, 512, 611. This shifting size value of notes in a sequential way creates entirely new sounds.
"BEATZ MATRIX"
The BEATZ MATRIX:
GENERAL DESCRIPTION: The Beatz Matrix is a GRAND MASTER SYSTEM meaning that it contains a large number of systems that integrate into it. For example, the rhythm patterns within the 2-String Pyramid are contained within one of the sides showing showing the rhythm translation. All 6 of the 123 sequences are within the 6/8 rhythm patterns. All the rhythm within the Chakras patterns are within the 8/8 time signature. There are many more naturally woven into the design that be linked in as a way of uniting these existing systems and translating over to others.
To describe the contents of it: The systems uses the rhythm patterns with notes 1/8 and greater within the time signature of 4/8, 6/8. and 8/8 (or 2/4, 3/4, and 4/4 respectively). To create addition time signatures in simple, compound, and irregular time signatures, the pieces can be tied and placed into a measure building track. Addition pieces are added to help make up the mathematical differences.
Additional contents also include rhythm families that are clustered together into geometric forms with unique colors.The image of the numbers, it shows one family of patterns that are all part of the same single looping thread (...22112221122112....) The five 8/8 patterns in here are: 22112 - 22211 - 12221 - 11222- 21122. This is like immediate family. But this family has extended family as well, such as 21221 - 12122 - 21212 -22121 -12212. This related family of five is adjacent within the Orange M just above the yellow +. In both of these examples of families, you might notice that the underlined center patterns are "Self-Symmetrical." These patterns have a feeling of balance. If you look to the left and right of these symmetrical patterns, you can notice the pairs on either side are symmetrical to each other, such as the pairs 22211 and 11222. If you draw a line from the center out to the corner of every quadrant, you create a Symmetry Line with Self-Symmetry pattern on it and all patterns left to right have symmetrical counter parts in different/ extended family groups..
Moving on to another major component of the Beatz Matrix, the silence is as important as the sound. Since the patterns contain NO RESTS, they must be layered in. Around the corners of the large diamond and within the small diamond connected are the rest patterns. Like the rhythm patterns without rests, these rhythm patterns with rests also have both SYMMETRY and FAMILY GROUPS. To give an example " X l l l X l X l l " are a small family of rest patterns. I you want to put in rest on top of a rhythm pattern, you select a pattern simultaneously,. Ie: l X l + 161 = 1X1. The 6 count becomes silent. Knowing and adding in the rest patters to rhythm patterns, you dramatically multiple the number of rhythm patterns. Example: 35 Five-Note rhythms in 8/8 x 31 rest patterns of Five-Notes = 1085 rhythm patterns.
There are other additional features to this that appear as buttons/ squares not yet listed on this. This includes Tempo Features, additional overlap for adding in 1/6 and smaller notes, triplets, and other musical dynamics. Those features will go into the sides of the large diamond at the bottom.
SKILL LEVEL: Because of the complexity of this, the beginning user may benefit learning the smaller subsystems that tie into this. HOWEVER, a beginner turning it on and pressing the rhythm button can start out playing the drum machine. The design of this is to teach people as they play, for example the rhythm pattern will go through the counts on a rhythm button illuminating the numbers with different colors as it plays that count. It's activating the parts of the brain that registers sounds, motion, visuals/color, and math. With the added buttons that allow the systems to bring up the many sub-systems, they can always travel away from the Beatz Matrix into another system world and then return. On a tangible electronic machine, this might be on an illuminated LED screen. As an additional feature, a training program can teach people through the instrument or program with prompts that teaches in realtime creation.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ As mentioned, this is one of the Grand Master systems that is a hub for many other systems, so a display can take them into those various subsystems.
~ Tonal shaping and voices aren't considered yet within the design, but it's a potential. If it can be translated into binary strands, you can use the system to shape sound.
~ The forms for this are intended to be tablet, software, and hardware instruments. A phone apt might be possible with zooming, but perhaps challenging to use.
~ With all the apps, creating user profiles to showcase musical creations to others on a platform is a possibility for expanding growth.
GENERAL DESCRIPTION: The Beatz Matrix is a GRAND MASTER SYSTEM meaning that it contains a large number of systems that integrate into it. For example, the rhythm patterns within the 2-String Pyramid are contained within one of the sides showing showing the rhythm translation. All 6 of the 123 sequences are within the 6/8 rhythm patterns. All the rhythm within the Chakras patterns are within the 8/8 time signature. There are many more naturally woven into the design that be linked in as a way of uniting these existing systems and translating over to others.
To describe the contents of it: The systems uses the rhythm patterns with notes 1/8 and greater within the time signature of 4/8, 6/8. and 8/8 (or 2/4, 3/4, and 4/4 respectively). To create addition time signatures in simple, compound, and irregular time signatures, the pieces can be tied and placed into a measure building track. Addition pieces are added to help make up the mathematical differences.
Additional contents also include rhythm families that are clustered together into geometric forms with unique colors.The image of the numbers, it shows one family of patterns that are all part of the same single looping thread (...22112221122112....) The five 8/8 patterns in here are: 22112 - 22211 - 12221 - 11222- 21122. This is like immediate family. But this family has extended family as well, such as 21221 - 12122 - 21212 -22121 -12212. This related family of five is adjacent within the Orange M just above the yellow +. In both of these examples of families, you might notice that the underlined center patterns are "Self-Symmetrical." These patterns have a feeling of balance. If you look to the left and right of these symmetrical patterns, you can notice the pairs on either side are symmetrical to each other, such as the pairs 22211 and 11222. If you draw a line from the center out to the corner of every quadrant, you create a Symmetry Line with Self-Symmetry pattern on it and all patterns left to right have symmetrical counter parts in different/ extended family groups..
Moving on to another major component of the Beatz Matrix, the silence is as important as the sound. Since the patterns contain NO RESTS, they must be layered in. Around the corners of the large diamond and within the small diamond connected are the rest patterns. Like the rhythm patterns without rests, these rhythm patterns with rests also have both SYMMETRY and FAMILY GROUPS. To give an example " X l l l X l X l l " are a small family of rest patterns. I you want to put in rest on top of a rhythm pattern, you select a pattern simultaneously,. Ie: l X l + 161 = 1X1. The 6 count becomes silent. Knowing and adding in the rest patters to rhythm patterns, you dramatically multiple the number of rhythm patterns. Example: 35 Five-Note rhythms in 8/8 x 31 rest patterns of Five-Notes = 1085 rhythm patterns.
There are other additional features to this that appear as buttons/ squares not yet listed on this. This includes Tempo Features, additional overlap for adding in 1/6 and smaller notes, triplets, and other musical dynamics. Those features will go into the sides of the large diamond at the bottom.
SKILL LEVEL: Because of the complexity of this, the beginning user may benefit learning the smaller subsystems that tie into this. HOWEVER, a beginner turning it on and pressing the rhythm button can start out playing the drum machine. The design of this is to teach people as they play, for example the rhythm pattern will go through the counts on a rhythm button illuminating the numbers with different colors as it plays that count. It's activating the parts of the brain that registers sounds, motion, visuals/color, and math. With the added buttons that allow the systems to bring up the many sub-systems, they can always travel away from the Beatz Matrix into another system world and then return. On a tangible electronic machine, this might be on an illuminated LED screen. As an additional feature, a training program can teach people through the instrument or program with prompts that teaches in realtime creation.
ADDITIONAL TRANSLATIONS and EXPANSIONS:
~ As mentioned, this is one of the Grand Master systems that is a hub for many other systems, so a display can take them into those various subsystems.
~ Tonal shaping and voices aren't considered yet within the design, but it's a potential. If it can be translated into binary strands, you can use the system to shape sound.
~ The forms for this are intended to be tablet, software, and hardware instruments. A phone apt might be possible with zooming, but perhaps challenging to use.
~ With all the apps, creating user profiles to showcase musical creations to others on a platform is a possibility for expanding growth.
III. CLOSING NOTES MOVING FORWARD
BELIEVE IT TO SEE IT!
With any Vision for the future, it is the painting of a distant reality that is not of our current world. Unfortunately, it has been engrained in most that to gauge what is possible we should look to the present of what is. Many people look at the hate, anger, and greed within our current world and conclude and conclude that a world of peace, harmony, and equality is impossible. But we must look past the Present wall into the unwritten potential for the future.
The information presented here both with the Music Matrix and with the Renascence is not just a vision for the future, but a concrete action plan with many dominos that shall build the momentum of growth. It is not instant though, it will take igniting that engine that drives this vehicle of change through the societal streets in a way that is seen and felt. This is what will start to generate the BELIEF and knowledge of it not only possible, but something iIS HAPPENING. In these crucial moments before ignition, the history will show those that turned away from this hope for humanity without consideration. It will show those who listened but sided with disbelief. And it will show those who stepped forward toward the vision for a brighter humanity walking ahead of the rest. While there will be no judgement against people for their own life lessons, the ones who decided to walk the path toward this beautiful destination, rather than surrendering to their fears for the worst, will be seen as the bearers of the light.
With any Vision for the future, it is the painting of a distant reality that is not of our current world. Unfortunately, it has been engrained in most that to gauge what is possible we should look to the present of what is. Many people look at the hate, anger, and greed within our current world and conclude and conclude that a world of peace, harmony, and equality is impossible. But we must look past the Present wall into the unwritten potential for the future.
The information presented here both with the Music Matrix and with the Renascence is not just a vision for the future, but a concrete action plan with many dominos that shall build the momentum of growth. It is not instant though, it will take igniting that engine that drives this vehicle of change through the societal streets in a way that is seen and felt. This is what will start to generate the BELIEF and knowledge of it not only possible, but something iIS HAPPENING. In these crucial moments before ignition, the history will show those that turned away from this hope for humanity without consideration. It will show those who listened but sided with disbelief. And it will show those who stepped forward toward the vision for a brighter humanity walking ahead of the rest. While there will be no judgement against people for their own life lessons, the ones who decided to walk the path toward this beautiful destination, rather than surrendering to their fears for the worst, will be seen as the bearers of the light.
A. GLIMPSE INTO THE DOMINOS OF UNFOLDING PIECES
The Music Matrix is not just a project, it is an extensive framework the feeds the larger vision of transformation. For all the projects listed on this website, they all all just pieces within a greater umbrella of change. The greater vision is building a creatively drawn movement with pre-established standards and intent for equality and sustainability. As with any event, company, or movement the key is exponential growth through building momentum of the success of previous products and projects. That's how these global empires we have now were built. With regard to this larger movement for change, the success of any project is the fuel for growth of others in cross-promotional support. Over the years, that first igniting domino has shifted many forms: The Music Matrix, a theatrical enterprise zone, Renascence Movement, a change driven variety show, youth development center, event production company, a community building store front, and many more over a span of over 23 years. We are only at a point within our society 2o years later that CHANGE is the NUMBER 1 DEMAND, even if people define it in drastically opposing ways. Within the ideal of change, the success of any one of these projects is in support of manifesting all of them. The are just different doors leading to the same thing.
The Music Matrix may possibly be the vary way to spread rapid change through society in that the technology and systems can spread to a global front through downloads all over the world. The revenue that is possible from the success of this very large network of systems will spill over into the many other project dominos that are lined up and conceptually developed over many years. As many tech jobs are facing potential crashes and deletion due to competition and over saturation, the exponential matrix can have the opposite effect creating many, Regardless of whether or not you may see the value in this or even believe its possible, for me, it is not a question of IF but WHEN.
Within that question of WHEN also comes the question of WHICH. Which door will open first to allow the other doors to open and other affiliated projects to develop. Will it be through an associated change driven film script? Will it be the launch of the Renaissance Rising movement events? Will it be through an internet social media project creation? Will it be through the launch of the Music Matrix? Or will it happen just simultaneously? It in not my job to define how it can happen, just to know that it will happen and to develop in the many different ways it can happen. This page is dedicated to planning for the potential of it happening with foresight within the Technological field of Music and Geometric fusion.
The following document is envisioning how the dominos will unfold if it were to happen through the launch of the Music Matrix. The visions of unfolding changes with the different projects such as the engineering of a sustainable social-arts movement scene in LA entitled Renaissance Rising. This potential enfolding plan is from 2017 and merely shows one potential pathway that can be taken. This is a general summation, and if you'd like to read the elongated and detailed version describing each of these dominos, please reach out.
The Music Matrix is not just a project, it is an extensive framework the feeds the larger vision of transformation. For all the projects listed on this website, they all all just pieces within a greater umbrella of change. The greater vision is building a creatively drawn movement with pre-established standards and intent for equality and sustainability. As with any event, company, or movement the key is exponential growth through building momentum of the success of previous products and projects. That's how these global empires we have now were built. With regard to this larger movement for change, the success of any project is the fuel for growth of others in cross-promotional support. Over the years, that first igniting domino has shifted many forms: The Music Matrix, a theatrical enterprise zone, Renascence Movement, a change driven variety show, youth development center, event production company, a community building store front, and many more over a span of over 23 years. We are only at a point within our society 2o years later that CHANGE is the NUMBER 1 DEMAND, even if people define it in drastically opposing ways. Within the ideal of change, the success of any one of these projects is in support of manifesting all of them. The are just different doors leading to the same thing.
The Music Matrix may possibly be the vary way to spread rapid change through society in that the technology and systems can spread to a global front through downloads all over the world. The revenue that is possible from the success of this very large network of systems will spill over into the many other project dominos that are lined up and conceptually developed over many years. As many tech jobs are facing potential crashes and deletion due to competition and over saturation, the exponential matrix can have the opposite effect creating many, Regardless of whether or not you may see the value in this or even believe its possible, for me, it is not a question of IF but WHEN.
Within that question of WHEN also comes the question of WHICH. Which door will open first to allow the other doors to open and other affiliated projects to develop. Will it be through an associated change driven film script? Will it be the launch of the Renaissance Rising movement events? Will it be through an internet social media project creation? Will it be through the launch of the Music Matrix? Or will it happen just simultaneously? It in not my job to define how it can happen, just to know that it will happen and to develop in the many different ways it can happen. This page is dedicated to planning for the potential of it happening with foresight within the Technological field of Music and Geometric fusion.
The following document is envisioning how the dominos will unfold if it were to happen through the launch of the Music Matrix. The visions of unfolding changes with the different projects such as the engineering of a sustainable social-arts movement scene in LA entitled Renaissance Rising. This potential enfolding plan is from 2017 and merely shows one potential pathway that can be taken. This is a general summation, and if you'd like to read the elongated and detailed version describing each of these dominos, please reach out.
B. OPPORTUNITIES FOR PARTICIPATION
If you would like to align with this journey toward manifestation, here are some ways of an urgent need:
1. NETWORKING SUPPORT:
If you know of people that might align with what is presented in any way, that will be of great appreciation.Any potential lead or contact may just be a valuable piece to the pie.
2. INVESTMENT AND PHILANTHROPY:
There are many projects within this website that have halted any further progress due to lack of resources. If you are a potential investor, please inquire the specific area of your interest and reach out for further details on ROI and financial breakdowns pertaining. High returns to those that support and believe in the vision and projects is important. With that, things are negotiable and there will be an ongoing influx of new projects to potentially invest in after the success of the previous.
It you are a philanthropist looking into bettering society, there are a number of potentials and concept creations that await the right startup support to awaken. With all the enterprise potentials from the Music Matrix, to the Film Development, to the Renascence Cafe, to the Renaissance Rising, and many more... public outreach and community betterment is a key focus. The sustainable social-arts scene/ movement of the Renaissance Rising is to be a Non-Profit economic development scene integrating a number of other causes, projects, and charities. There are many ways to feed this future we are working toward.
If you are a supporter of any kind, even if not investor or philanthropist, and you are OPEN TO MAKING A CONTRIBUTION, please consider a direct donation toward the work being done toward manifesting this change that ALL WILL BENEFIT FROM. None of the writing, site building, designs, promotional work, recruitment pushes, outreach for other organization, or any other volunteer work done has been compensated. With over 23 years of volunteer work for various causes, organizations, and my own community building pushes... much of my own sustainability has been sacrificed for the sake of the greater good. Supportive donations also help to pay the various admin and business costs that come out of pocket. If you feel inspired and called to do so, please PAYPAL: [email protected] or reach out with text or call at 415-424-3494 for ZELLE or VENMO.
3. TIME INVESTMENT:
If your interest is in participating in co-creating a project, we can discuss a Return of Time Investment for you contribution. With regard to building up the Music Matrix and building the Apps, we can discuss and draft contracts for generous returns for your time that will far exceed the current market value of these services. Economic prosperity for all participants is a key focus of mine, as well as rewarding those who did not turn away, those who reach a helping hand.
4. BETA TESTING:
For MUSICIANS who have found what is presented here of value worth pursuing, we can set you up as a BETA TESTER for the designs.You are welcome to also just try out some of the samples here. The designs here are just a small selections to perhaps a few hundred systems and designs for many different purposes. In setting up testing of the various designs, you'll be asked to sign a NDA with requested feedback. With the success of the development and launch of the Music Matrix, there will be additional benefits for those testing them out which may include credits and public acknowledgement, launch party VIP benefits, featuring and promotional pushes of your music, and much more.
If you would like to align with this journey toward manifestation, here are some ways of an urgent need:
1. NETWORKING SUPPORT:
If you know of people that might align with what is presented in any way, that will be of great appreciation.Any potential lead or contact may just be a valuable piece to the pie.
2. INVESTMENT AND PHILANTHROPY:
There are many projects within this website that have halted any further progress due to lack of resources. If you are a potential investor, please inquire the specific area of your interest and reach out for further details on ROI and financial breakdowns pertaining. High returns to those that support and believe in the vision and projects is important. With that, things are negotiable and there will be an ongoing influx of new projects to potentially invest in after the success of the previous.
It you are a philanthropist looking into bettering society, there are a number of potentials and concept creations that await the right startup support to awaken. With all the enterprise potentials from the Music Matrix, to the Film Development, to the Renascence Cafe, to the Renaissance Rising, and many more... public outreach and community betterment is a key focus. The sustainable social-arts scene/ movement of the Renaissance Rising is to be a Non-Profit economic development scene integrating a number of other causes, projects, and charities. There are many ways to feed this future we are working toward.
If you are a supporter of any kind, even if not investor or philanthropist, and you are OPEN TO MAKING A CONTRIBUTION, please consider a direct donation toward the work being done toward manifesting this change that ALL WILL BENEFIT FROM. None of the writing, site building, designs, promotional work, recruitment pushes, outreach for other organization, or any other volunteer work done has been compensated. With over 23 years of volunteer work for various causes, organizations, and my own community building pushes... much of my own sustainability has been sacrificed for the sake of the greater good. Supportive donations also help to pay the various admin and business costs that come out of pocket. If you feel inspired and called to do so, please PAYPAL: [email protected] or reach out with text or call at 415-424-3494 for ZELLE or VENMO.
3. TIME INVESTMENT:
If your interest is in participating in co-creating a project, we can discuss a Return of Time Investment for you contribution. With regard to building up the Music Matrix and building the Apps, we can discuss and draft contracts for generous returns for your time that will far exceed the current market value of these services. Economic prosperity for all participants is a key focus of mine, as well as rewarding those who did not turn away, those who reach a helping hand.
4. BETA TESTING:
For MUSICIANS who have found what is presented here of value worth pursuing, we can set you up as a BETA TESTER for the designs.You are welcome to also just try out some of the samples here. The designs here are just a small selections to perhaps a few hundred systems and designs for many different purposes. In setting up testing of the various designs, you'll be asked to sign a NDA with requested feedback. With the success of the development and launch of the Music Matrix, there will be additional benefits for those testing them out which may include credits and public acknowledgement, launch party VIP benefits, featuring and promotional pushes of your music, and much more.
C. CLOSING NOTE
Thank you kindly for making it this far. We are at a great turning point within the world with great changes upon us on all fronts: Environmentally, in the civic and political sector, in the fields of technology, and within our own social and itself relationships. There are two pathways we can choose. The first is driven by fear and pessimisms that sees the worst case scenario unfolding. This pathways accepts defeat and throws out the vision of the second path as foolish dreaming. But that second path sees the potential just outside the walls of the present absurdity. That path walks toward a locked in destination that is the ideal outcome for humanity. And the only way to reach this potential is to reach this potential. For if we don't know where we are going, how will we ever get there? Have a seat and gaze at what can be when we believe in what will be.
With Deep Gratitude,
Ziggy Dayz
The Renascence Scene
415.424.3494
Thank you kindly for making it this far. We are at a great turning point within the world with great changes upon us on all fronts: Environmentally, in the civic and political sector, in the fields of technology, and within our own social and itself relationships. There are two pathways we can choose. The first is driven by fear and pessimisms that sees the worst case scenario unfolding. This pathways accepts defeat and throws out the vision of the second path as foolish dreaming. But that second path sees the potential just outside the walls of the present absurdity. That path walks toward a locked in destination that is the ideal outcome for humanity. And the only way to reach this potential is to reach this potential. For if we don't know where we are going, how will we ever get there? Have a seat and gaze at what can be when we believe in what will be.
With Deep Gratitude,
Ziggy Dayz
The Renascence Scene
415.424.3494