Musical Architectures and The “Rite of the Guitar”

Some expectations are to be created when dealing with the fundamentals of sound, whether it’s the tonality, rhythm, melodic themes heard or the silence in between. Anything that leads the body to anticipate the next moment is important to be considered as it draws on the importance of the sound heard as well as creative impact one can have on that value. So in itself the expectation of tone is intrinsically linked to the properties conveyed once the note is initially realized.

So it is important, therefore, to consider the architecture of the “sound generator” as the complete content and form of the object itself- in this case the sound and sense of the instrument.


 


 

For example, what is this?

It is in fact just a picture. The picture captures the image of an object, not the size, feeling, smell or presence of the object but a moment in time where the object at rest was exposed and captured on film. This object is a Nellophone, a percussive instrument used to make music. If we take the same picture and add a player in motion to bring the instrument to life we have a more complicated understanding of the object at rest. This complication is a direct measurement of the fundamental weight of the photograph taken. Now that a player is there we can better sense the size, function and sound of the object and the complications that make it what it is.

 


 

Symphontree Music will now present instruments as a photographic opera arranged to celebrate the diversity of the musical object being presented. This shift and enrichment of the guitar profile allows clients naturally to transition from being treated like “online” customers to now becoming the audience of a “Rite for the Guitar.” In this way, we convey the form and function of the object being presented as a musical ritual, naturally expanding the depth of field for the online audience and composer. With the deepest, fullest respect to the guitar, we expose and explore the quanta surrounding the first moment of playing.

Every instrument will be the focus and centre point for its own opera. The voices are the combined vibrating plates from the trees that construct the guitar. The guitar will move through five acts.


I Exposition

Several layered exposures of the instrument, introducing its shapes colours and motifs through pure imagery.

II Complication

Now that the instrument has revealed itself there maybe physical, intuitive and emotional complications to discuss. In this section the components of the Ecstatic Guitar Theorem are exposed. The object’s materials, dimensions, critical tone analysis, power, notion of design are discussed.

III Peripetie

This is the first movement of music from the instrument and player: an unrehearsed, honest rendering of improvisational music purely inspired through the content of the instrument that cannot be captured as a still image. Here you will find three acts of musical “happenings” with the instrument.

IV Retardement

The instrument is removed of its chromatic presence and is portrayed in black and white imagery.

V Finale

The instrument is either itself or accompanied by another influence to create two improvisational musical acts: “The Catastrophe” and “The Finale.” This is followed up with a gallery of two raw images of the front and back of the guitar that can be zoomed in at high resolution to reveal the instrument’s details with extreme clarity and sharpness. There will also be a 4K UHD video of the guitar being played.


An example of the raw image gallery below:

MM (1 of 1)

GUITARS