HAS THE ABOVE EVER HAPPENED TO YOU?? :)
Maybe you could use some songwriting tips. If so, I've come across an interesting resource:
I've been delving into this "encyclopedia" entitled: "HOW MUSIC REALLY WORKS", a 990-page reference. It's directed mainly at songwriters, not necessarily to the "serious" music composer. It contains a huge amount of info on scales, melody, harmony, construction of lyrics against music, rhythmic patterns, emotional aspects of music, relative popularity of styles, the history of the American music industry, and more.
It's available on Amazon for about $150, hardcopy. BUT, you can get it from the publisher's website as a PDF for $19, which I think you will find to be more practical, as you can jump to pages and mark it up, etc. [NOTE: I am not "monetizing" this book, nor have I any affiliation of any kind with the publisher.]
My overall impression of this book is that it REALLY needed a good, professional EDITOR to clean and tighten it up. But that obviously never happened. For all the valid and relevant data the book has, there are also many "unfunny" attempts at humor, as well as outdated & irrelevant info, and even misinformation in its' pages.
But rather than go on about what's wrong with this book, I'll put all my negative impressions on another page, in the future.
So, here are what I think are some interesting and useful "take-away's" from the book:
ON THE NEED FOR FAMILIARITY IN ART, AND MUSIC:
* "A work of art
must in some way model or demonstrate a possible human situation or
experience. Otherwise it will not evoke a response."
* "Great works of art provide society with benefits every bit as useful as the benefits derived from scientific research." - How Music Really Works
"DOES ART HAVE ANY "RULES"?"
working with language manipulate words [...] to create works of art
such as novels, plays, and song lyrics. Successful artists who use
language innovate with words and grammar.
"But, they preserve enough of the language's commonly-used vocabulary and observe enough of its grammatical rules to ensure reasonable audience accessibility.
"If an artist working with language employs too much [uncommon] grammar and too many twists of vocabulary, the novel or play or song lyric becomes incomprehensible.
"Without adequate adherence to convention, audiences find the work inaccessible and simply turn away from it, confused and irritated." - How Music Really Works
And on this point, the author has LEONARD BERNSTEIN weigh in:
"All music—whether folk, pop, symphonic, modal, tonal, atonal, polytonal, microtonal, well-tempered, ill-tempered, music from the distant past or imminent future—all of it has a common origin in the universal phenomenon of the Harmonic Series."
— LEONARD BERNSTEIN - from "THE UNANSWERED QUESTION" - The Harvard Lectures
[see diagram of how all strings vibrate, below - this is the "origin" of the Harmonic Series]
["Side trip": Since the book cited Mr. Bernstein, I decided to go to straight the source: I've started listening to his Harvard Lectures, and, wow! Are they intriguing and compelling! I recommend you do the same: Even if you are not an "academic", you CAN get some great insights from them, if you carefully get all the unfamiliar words defined as they come up. This isn't hard, just keep one or more dictionaries open on a separate tab, or whatever.]
David Grisman [above] uses "The Original" Cowling System:
SEND ME "THE ORIGINAL COWLING SYSTEM©" -- e-book through PAYPAL: [over 70 pages: $22.50]
Paperback Also Now Available!
More info for you:
[These testimonials are actual and unsolicited:]
FROM A VIOLINIST:
"The Cowling System © is a set of 12 exercises designed to increase the flexibility and strength of the hand, wrist, and fingers.
"I bought the course in 1978 and have found them to be invaluable.
"I've kept them all these years and still use them to warm up with before playing."
~ Richard Barton posted on VIOLINIST.COM
FROM A BASS PLAYER:
"My fingers actually DO what my brain tells them to do, WITHOUT getting confused."
~ Anthony Jerome Smith, 35-year veteran bass player.
FROM A PIANIST:
"In 1976, my teacher gave me his copy of all the exercises, whereupon I made xeroxed pages to put in a binder.
"My teacher was amazed at my progress that in a year I could play, for example, the prelude #17 of Chopin!
~ "RPN58" (from a pianists' discussion board in England, 2006)
FROM A GUITARIST:
"I was introduced to the Cowling System © in the 1980's by a violinist in his seventies, who had amazing dexterity on his instrument for HIS age.
"Through the use of the COWLING SYSTEM ©, I went from "amateur" to an "A" level in music in a very short number of years.
"I have been using the exercises continuously since my friend gave them to me and believe me - THEY WORK."
~ Don Wills Guitarist, Great Britain
FROM A VIOLINIST:
"I must say I am highly delighted with the way my fingering has improved since I commenced your hand strengthening exercises.
"Recently, I became very depressed about my playing and almost decided to give it up, but now I feel it's a pleasure, thanks to the Cowling System. ©"
~ "THE VIOLINIST" Magazine, December, 1924
I'd love to see YOUR testimonial on this list! If you really do "THE ORIGINAL" COWLING SYSTEM © of Hand Strengthening Exercises", you CAN master and truly enjoy your music!
SEND ME THIS BOOK.
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