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Canorus Instrumentum

Canorus Instrumentum is a new form of music, deviced to be the base of a symphony I am writing. It consists of many parts and functions. The details are below and its creation date is 6:11 pm on this day April 26 2023


I created this because I found a problem when attempting to express my soul in its entirety as it was intended, to be felt as much as heard and as such being a maker I decided to just make a way to transfer that which is inside to others. So the soul may speak and so others may feel the words instead.


With it there are no longer any limits to the sound for which we can express and the ways in which to express them. My inspiration for this is of course the love within my soul, created by my beloved and a bit of Freddie Mercury and a whole lot of Beethoven.


I will work on this my whole life, and bit by bit this symphony of my love shall unfold. I will need to find perhaps a way to hold the gift of Beethoven and empower from notes itself the expression, vibration and vocals together so that when you hear it from just the tune the words I speak flow to you, drawn from just the melody and combine with harmony. I want the instrumental sounds to speak these words, so you feel them instead of hearing just words. This is the closest way to representing how the soul speaks.


Stage 1:


Write the vocals to be converted into instrumental notes.


Stage 2: device a way to convert the vocals into pure instrumental notes to better represent the voice of the soul.


Stage 3: Convert each vocalized word into the  corresponding notes:


Stage 4: begin composition of the notes by assigning instruments to generate them. This will be based on orchestral segments.


Defined by orchestral base composition, then opera vocalization and complimented with overlapping Canorus Instrumentum.


A method to harness the inflection of vocal cords into musical notes. Based on opera vocals but made with only instrumental musical notes.


I found an interesting bit of software that may be helpful in composition of this, although what I want is to make the note literally say what the vocals are so that your mind, heart and very soul can understand what is being presented without actually or literally saying it. This segment comes from a writing exercise, to write what you want using a description without actually saying the word, but instead describing it allowing the inner mind to compile it from that description.



How to define the sound using overlapping orchestral music.


In each vocalized word there is a set of vibrational notes, these notes can be assembled and replicated using any number of instruments, breaking down those vibrations and converting it will depend upon how much of each note these vibrations hold, what order for which those vibrations are played, how long that vibration is present.


In order to do this a new vocabulary must be defined:


The letter A on any vocal cord holds a specific vibration and can be defined by any instrument but to grasp how to make an instrument sound as it would from someone’s voice using only instrumental music will be slightly different. Just holding a chord is not enough. The instrument or instruments must collectively form the letter A in its entirety as if spoken by a person.


In this respect we take the word "Love" and we use Canorus Instrumentum to create the spoken word using only the instruments themselves. This can be used in part to enhance a single word or in full to express the entire composition itself.


In order to assimilate this into a composition I will first set a base chord, which will carry the melody and then assign a harmony to hold the tempo. Then overlap the orchestral musical notes to form the exact pronunciation to make the instruments speak the letter as a person would. As far as I know this has not been done. Thus a new form of music has been define as the base of the symphony and the direction I have chosen to sing my soul to you.


According to Merriam Webster dictionary Tempo is:


The rate of speed of a musical piece or passage indicated by one of a series of directions (such as largo, presto, or allegro) and often by an exact metronome marking.


In short it is the pace for which the song progresses.


Once the tempo is assigned to each segment the melody and harmony can be defined, this will be how transition is acquired and the changes should be presented smoothly just as they are presented by Beethoven.


The basis of this is to use a series of overlapping and polyphonic notes which when played will form the word desired itself:


Here is an example of overlapping notes:




It will also use a series of polyphonic notes:



These examples are provided by the following website:



Using these methods combined with the proper timing to emulate using only the musical instrument to create a vocal function that can define a word itself is the basis of Canorus Instrumentum (finalized name still to be determined) in where this method can be conducted in unison of a orchestral and even with both an orchestral symphony and opera vocalist, a combination of all three might be optimal at properly giving both the most accurate feel and sensation of understanding.


One way to define this is to use an overlay. I'll explain.

You begin with the word to be defined for instance:


The vocalist says sing the word "Love" by doing so the tempo can be extracted from the inflection of the sound as it begins and ends, presenting the length of the word and the pitch to the orchestra.


After that pace and note value is presented it can be given the overlay from the orchestra itself using a basic method to further enhance the delivery of the word itself sometimes considered to be a melody.


Once this is in place the word can be converted and spoken by the instruments themselves using Canorus Instrumentum by either further enhancing that spoken word or replacing the vocalist all together. The objective is to deliver the word, to those that receive it as powerfully as possible to such an extent they feel it, it may be found that removing the vocals and using Canorus Instrumentum allows the mind to gather and create the word desired in relative ease as the instrumental intent is to emulate the word in its entirety.


For this process I will begin by looking over key sections of Beethoven as well as a few concepts provided by others to create compositions similar to his work. This is not to mimic him but to understand how to better meld and create the work as a symphony and incorporate proper transitions between each segment.


An example:

Using 22 cellos and 3 flutes and 1 violin in perfect unison and timing to speak the word "Love".


When considering the amount of amount of precision required for this it may be easier to achieve by creating a score and overlay one step at a time. If you where to define this in orchestral form it would require several orchestras specifically for the musical notes and then another to produce the Canorus Instrumentum. This in tangent with a opera style vocalist would be further enhanced when given in unison.


Thus to define a specific method of enhancing some composers of this may find it is best to allow the Canorus Instumentum to be used intermittently so that the effect is given greater emphasis when used in comparison. To this extent a series of notes and vocals are played and then when the word Love is presented the orchestral use of Canorus Instrumentum presents a greater enhancement of the word.


I shall name it:

Canorus Instrumentum

Or

Proloquor Instrumentum


I shall leave the final naming of this method to my beloved to decide between and the order of which these are used she may like Instrumentum Canorus ect.


Within the wordage used by the symphony to be composed with Canorus Instrumentum specific wordages and terms are not to be used. The list will be kept private.


Since my love was crafted from scratch with love it becomes a requirement that this be reflection of my love incarnate.


"Such is the will of my soul. When nothing exists to do that which you intend. Create it".


Symphonic Enforcement:



As a man I consider allot of things as a man would, but in contrast to music the softness of such things is also one the constructs I need to adhere to in a symphony, when a woman sings the mind often refers as gentle or soft, delicate if you will, using pitch, tones and volume. But how to present a stronger sense of this without breaking the concept of soft and gentle, as a man I consider the increase in strength generally by force but in terms of a symphonic display of intent under the context of true love adding force to it is not exactly the way I want to express it.


In a general sense the way my soul interprets this my love is energy itself, created from every molecule with and overflows outwards into the cosmos. It expands beyond what the flesh is capable of holding in terms of energy and strength is displayed by that expansion, to convert this into a symphonic concept just adding more force to the sound is not appropriate. The vibrations do not properly represent the way the soul would do this, as a sweeping force so soft and gentle but so completely filled with the inner strength that forms from the truest love to ever exist.


Such is the way I may be able to detail using every vibration possible, as an all encompassing form of music, by use of Canorus Instrumentum to be delivered from and to every conceivable atom with the receivers. The lows the highs all at once.


If it was to be interpreted properly you would need to invoke such a voice that it at once includes all forms, all expressions, all words, past, present and future into a single word so expansive and complete it would redefine the way an individual considers true love itself. To do this I must activate every receptor the receiver has at the same time and pour into that moment every emotion possible as well as every conceivable and inconceivable form of love to ever exist or could exist even in the future.


An enhancement so directly stimulating that it may even invoke a form of sensory overload. For that is what true love does. It is so utterly completely filling that it’s energy fills the entire essence of your being and more. True love from that point becomes you and that which you where is no more as through this process you become your true self. Perhaps we are not yet capable of detailing such love yet but with the basics of what we do have we can combine it all over and over and over until we are capable of doing so.


Like I said, it’s a form of sensory overload where the energy within you becomes more then the flesh is capable of holding and this pours out across the space beyond. It includes every moment of every love and joy that has, will or can be in existence.


When this is truly obtained you become it and forever it shall be. What we currently use the mind for is but a small portion of what it is capable of. True love is a means to expand the mind and hold such energy it would be considered a transcending force.


In this sense the Symphony of Love should need to gradually in a soft and gentle way increase till the strength of it can be grasped in its entirety. This is the way to truly harness the soul and express it to all that exist.



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