|
If only I had had my day with y ou, I'd know just what could be, but, of course, the danger was immense, for me at least, and that was only stop gap so that I could have been of other days but forever locked in an inner cell, the known outside of it, perhaps forever lurking there and not in love at all.
|
If only I had had my day with you, I'd know just what could be, but, of course, the danger was immense, for me, at least, and that was only stop gap so that I could have been of other days, but forever locked in an inner cell, the known outside of it, perhaps forever lurking there and not in love at all.
Conjunctions cry to me to use their versatility to get me back into the harmony of silence in my family.
High winds propel
Grope not for words because they are not there unless they wait to be retrieved.
My knees are not in linens draped nor do they find themselves alone because they cannot yet be let out onto grass.
It is not time / which calls
Each thread I take into the mesh gives color to the intricate design, although I use just grays and other neutral tones.
It has no words because it is of ice, and yet it moves the soul.
It flies along the road to gather up the ones who are not in command of what they do.
Gender
Female
about me
Departed field of music composition to try out writing plays and monologues. No longer write monologues unless I need one in a play. Still write poetry.
Interested in history, geography, mostly international current events.
You are not connected to paula
want to grow your network?
Constructing a foundation: An important consideration in constructing a foundation is balance. The spread of intervals used in a complete piece, whether writing in one section (with closure if desired) two sections (with closure if desired), or etc., must be symmetrical. This symmetry should be planned before the writing even begins. It is worked out by a rather intricate left-right, right-left pitch formula, formed from the very central pitch(es) of interval spreads or from the low defining ...
read more
Sun, April 2, 2006 - 6:29 PM
permalink -
0 comments
Indirect Interlock
Sun, April 2, 2006 - 5:45 PM
permalink -
0 comments
1. Intervals are always in ascending order. 2. Accidentals only refer to the interval to which they're attached. Stage 1. C#F# - CF - BE Stage 2. DG - CF - BbEb Stage 3. EbAb - CF - AD Stage 4. EA - CF - G#C# Paula J.D. April 2, 06
You will find in Parts 4a and 4b two examples of the intervals one can use for composing a complete piece of Separation music. A study of them may help to clarify the essence of this music.
Tue, March 28, 2006 - 11:52 AM
permalink -
0 comments
As indicated earlier, there are four stages of interlock as well as two styles thereof available from which to choose in writing a piece of music. . Below you will find a blueprint for a composition using three intervals(Fourths) in Direct Interlock. All four stages of interlock are included. Furth... read more
Parts 1, 2, and 3 of 5 Parts on Separation Music Theory are included on my BLOG. Feel free to go there, to read them, and to comment on them. paula d.
Sat, March 25, 2006 - 5:37 PM
permalink -
0 comments
The interlocked portion of a whole piece of music may be written in the direct or the indirect style. It may also be written in a combination of the two: e.g., section (stage) one in indirect, sections two and three in direct, section four in indirect. Other combinations exist; the important consideration seems to be that the combination exhibit some type of symmetry.
Sat, March 25, 2006 - 10:03 AM
permalink -
0 comments
Within the body of a music composition, single, or several, intervals in the stated style of interlock may be... read more
|
