• xguhx

so i don't even know where to begin

but i am looking for people to maybe give me ideas or tips on songwriting. the style/genre is very precise. it is going to be a devestating-guitar-driven type of band, but it won't be metal. i don't know, i just need some insight from anyone who is good at writing songs.
  • xguhx


i'm in a band/musical project with a friend from MA (i'm in FL), and i'm hoping for it to be a very specific sound. it's going to be very brutal-guitar-driven, but it won't be metal. it'll have some jazz and blues influences, but it won't be either. it'll have melodic singing, and also shrieking vocals. but it won't make anyone want to mosh or anything. it'll be beautiful, it'll be chaotic, it'll re-piece itself back together, because music can do that. not only to itself, but to human beings.

music, to me, is its own being. it's not one to be tampered with, or taken less than seriously. yet, everyone who plays music should have fun with it. it should not be a burden, but it should be played with passion. it's all i've got, and it'll never leave my side when i need it most. it is my best friend, and we are bonded together for all of eternity. there is one problem, however.

i'm not good at writing music.

i would appreciate any sort of help or inspiration or any input at all. to discuss this indepth, you can IM me @ billyxransom OR my other s/n RebuildingRomex.



This is an attempt at posting to the amusingly named "a muse" (or more properly "_a_muse") community. If this works, then I'll be posting again soon. If not, then I won't be posting again in the near future until I have time to figure out how to post to it properly. If that doesn't make sense, then... you probably don't want to read any of my posts in this or any group anyway.

More hopefully soon.

Peace(s) - plural for sharing,

  • Current Music
    the keys clicking
  • melyxa

The Sacred In Music

Preface: Since about 1987, I've been participating in something called Triangles. It was set up by an organization called the Lucis Trust. The short version is that three people agree to do a brief, daily meditation working to bring about raised consciousness, divine energies, etc. For some, it's a peace vigil. For others, it's an exercise in unifying energies. In any case, every once in awhile, I recieve the newsletter for Triangles published by the Lucis Trust. Some of the articles are kind of esoteric. Some focus a little overmuch on "Christ Consciousness" for me as a JewWitch. All frame any subject matter within the context of the Triangles. I just dug up an article from this past September called, "The Sacred in Music." [Remember that context thing when you reach the end, and remember, too, that this isn't in any way a plug for Triangles or the Lucis Trust. In addition, they never attribute their articles to anyone, so I can't tell you who wrote it.]

Is there a particular element in music that makes it "sacred?" Is music written for a religious service any more sacred than music written for the theatre, opera house or concert hall? Is Handel's 'Messiah' more sacred -- because its theme is the birth, crucifixion and resurrection of Jesus Christ -- than, say, Beethoven's ninth symphony, 'Ode to Joy,' glorifying the Brotherhood of Man? Does only religious music define what is sacred in music or is there something deeper and more profound that all music has in common that deems it sacred?

To make sacred is to make of many parts one whole. It is the expansion in consciousness towards synthesis and oneness. The dictionary defines "sacred" as "dedicated to God, hallowed by associatin with the divine." Sacred, then, is that element in life that draws many parts together into a complete whole, in the likeness of God.

In a like manner we might ask, what is the element in musical writing (at least in Western traditional music) that gives it a sense of completeness, harmony and beauty? A short answer might be the use of the Triad -- a chord made up of a tonic note, a major or minor 3rd and a perfect 5th -- as with the notes C-E-G on the keyboard. The inclusion of the major or minor 3rd was of particular significance. It was the introduction of the triad that really revolutionised all musical writing from the 15th century onward. As stated in the Oxford History of Music: "composers had now at least a material which they could treat in an expressive manner... a vehicle for the representation of moods of feeling, and that which belongs to the music of the divine service."

Throughout the Middle Ages, in religious music, 3rds were used in most contrapuntal and polyphonic writing. But they did not figure in the final chord at the cadence, at the end of the piece. Generally, only the octave and the 5th were used in religious music at the final cadence. The 3rd of the chord was introduced (or "allowed" by Church officials) around the year 1500. That cadence was even given a name: the 'Tierce de Picardie,' or Picardie 3rd. When sounded at the end of a piece written in a minor mode, the major 3rd in the final chord produced an uplifting sense of finality and completeness to the piece. The 3rd has the ability to portray colour and mood and feeling in a piece of music, any music. The 3rd has long been used in secular madrigals which were much more expressive of deep feelings. But when the major or minor 3rd was introduced in religious music, church officials didn't, at first, approve of the "new" sound; it was considered "too pleasing to the ear" and might detract from the "serious" and somber function that religious music was supposed to inspire. But they also had to admit that the triad did remind them of the divine Trinity, so it was allowed.

It obviously wasn't just by chance that the use of the triad occurred during the 15th century. The latter part of that century marked a great awakening in culture and the arts. This awakening followed -- and is likely a direct result of -- the Hierarchical conclave in 1400 and in 1425. From this point on, a new wave of highly enlightened souls came into the world bringing fresh creative energy to the fields of arts and culture. The musical scales, that are still used today, became organised and equal tempered and universally accepted for the first time, thanks largely to the presence of the triad. Ultimately of course, the main element that gives music its "sacred" quality is the presence of the soul itself as it works through each artist. It is the middle principle of the triad -- the uplifting major 3rd of the soul -- that gives expressive quality to human consciousness. And it is the same creative force that enables us to build a network of lighted triangles around the world, drawing it together in a complete, sacred whole.
  • melyxa

The Divine Soma Experiment

In my Googled, serendipitous travels in search of whatever I might find regarding "the music of the spheres," I chanced upon a little page ( ) which, of itself, would be but a footnote of my travels. I took a chance, however, and (much like Alice and her rabbit hole) followed a little white link that said "Home" to this page:

The Divine Soma Experiment is/are a band. They make music with the express, stated purpose in mind of altering consciousness. I'm not shilling for these guys. In fact, I have yet to hear a single thing of theirs. But their site is gorgeous, and fun, and they talk about wonderous things like said music of the spheres (which they take quite seriously), and synaesthesia. I very, very, very rarely have had experiences of synaesthesia; that is to say, I could see the colors of the music I was hearing. Yes, of course; altered states of consciousness were involved... but not all of those occasions involved controlled substances of any sort in order to acheive an altered state of consciousness.

Which brings me to my one caveat about the website: if you object in any way, shape or form to psychedelia, to altered states of consciousness, or -- most pointedly and particularly -- to the use of hallucinogens, you will not enjoy this site at all.

I'm impressed that they don't just rummage through the usual psychedelic attic of Timothy Leary and Carlos Casteneda. They actually seem interested in ancient cultures, and give them a bit more than lip service at that.

I'm looking forward to listenening to at least a clip of the music (I don't exactly have the most au courant 'puter equipment). If any of you do, or even if you just peruse the site, I'd be very interested to know what you think.
  • Current Mood
    curious curious
  • melyxa

More Music of the Spheres

Inspired by the last entry, my tardy reply, and the fact that my memory was just this side of swiss cheese when replying, I ran a quick Google on "Music of the Spheres" out of sheer curiosity. This is a gleaning of some of the things I found: leads one to an essay titled "Kepler and the Music of the Spheres" by David Plant. I, personally, can't resist anything that starts off with this quote:

"The heavenly motions... are nothing but a continuous
song for several voices, perceived not by the ear but by
the intellect,
a figured music which sets landmarks
in the immeasurable flow of time."

John Banville: Kepler, (Minerva 1990)

I was afraid it would be a little dry, but I found the juxtaposition of music and science to be fascinating. leads to a page advertising the music of William Zeitler. I include it here for the sheer serendipity of it, because one almost never finds music for the glass armonica nowadays, and because the page opens thusly:

With Music of the Spheres you'll find twelve pieces that were inspired by the ancient Pythagorean conception of the Universe. This musical journey begins at Earth, through the planets and to the Great Beyond. Passionate and mystical, reveling in the wonders of the Cosmos. Also includes a wealth of musical symbolism based on almost a year of William's research into ancient through modern cosmology.

This site -- -- is notable for its brevity, and is full of lovely, classical references. If you read all the way to the tiny print at the bottom, you then discover that it's part of the Van Morrison website.

For those with music in the realms of science fiction on their minds, I offer this: What originally attracted me to the site was the mention of "Bass Notes" in the title (I have a penchant for both the bass guitar and the bass fiddle). What I discovered was fascinating and curious, positing what the author referred to as "solar ultrasound." leads to a brief review of Music, Science and the Natural Order of the Universe by Jamie James, written by one Paul Taylor. He begins thusly: The reader will find that this is much more about musicians' ideas about science and nature than it is about science and nature themselves and their relation to music. This prospect sounded wonderful and intriguing to me, but Mr. Taylor was less than thrilled; this makes for an amusing little blurb. On the other hand, it also leads back to it's source, a site devoted to "Music and Science." If you're as eclectic and curious as I am, you may want to give some perusal.

Then there was this little page: (which I rather fancied). Very unpretentious in its text, yet radical in how matter-of-factly it treats its subject. I went back to its source page as well, and I think I might devote a separate post to that shortly. It really impressed me.

There were also several links in the midst of my search to for various books. I confess that I didn't check any of them out, but they're out there.