Alexandre Tannous

Each macabre, again, like the scales, but scales are a reduced version of that because a D major scale is the same as C major, same as E major, but it's starting on a different note degree. So you're changing the tonal center, the point of departure and arrival key of, when you talk about piano sonata and the key of E flat,

Each macabre, again, like the scales, but scales are a reduced version of that because a D major scale is the same as C major, same as E major, but it's starting on a different note degree. So you're changing the tonal center, the point of departure and arrival key of, when you talk about piano sonata and the key of E flat,

Each macabre, again, like the scales, but scales are a reduced version of that because a D major scale is the same as C major, same as E major, but it's starting on a different note degree. So you're changing the tonal center, the point of departure and arrival key of, when you talk about piano sonata and the key of E flat,

by Mozart, by whoever, or a piano concerto in the key of G, that G is a tonal center, and you're using notes that are in the scale of E-flat, major or minor. But in the West, we focus mostly on the major or minor. It's true, we have three different minor scales, and they have different constructs, different whole-step, half-step division between the notes.

by Mozart, by whoever, or a piano concerto in the key of G, that G is a tonal center, and you're using notes that are in the scale of E-flat, major or minor. But in the West, we focus mostly on the major or minor. It's true, we have three different minor scales, and they have different constructs, different whole-step, half-step division between the notes.

by Mozart, by whoever, or a piano concerto in the key of G, that G is a tonal center, and you're using notes that are in the scale of E-flat, major or minor. But in the West, we focus mostly on the major or minor. It's true, we have three different minor scales, and they have different constructs, different whole-step, half-step division between the notes.

And we have the harmonic scale, the melodic scale, and the natural minor scales. And we have one major scale. We focus on just these four scales. There are other scales used, pentatonic is used quite often, and some other ones, but they get funky if you go into very specialized music or progressive rock or jazz or classical post-romantic music.

And we have the harmonic scale, the melodic scale, and the natural minor scales. And we have one major scale. We focus on just these four scales. There are other scales used, pentatonic is used quite often, and some other ones, but they get funky if you go into very specialized music or progressive rock or jazz or classical post-romantic music.

And we have the harmonic scale, the melodic scale, and the natural minor scales. And we have one major scale. We focus on just these four scales. There are other scales used, pentatonic is used quite often, and some other ones, but they get funky if you go into very specialized music or progressive rock or jazz or classical post-romantic music.

But this is happening all along in India, in the Arab world, in Turkey, in the Persian world, in North Africa, is that they have different scales. So that different ethos, different intervallic structure, different group of notes.

But this is happening all along in India, in the Arab world, in Turkey, in the Persian world, in North Africa, is that they have different scales. So that different ethos, different intervallic structure, different group of notes.

But this is happening all along in India, in the Arab world, in Turkey, in the Persian world, in North Africa, is that they have different scales. So that different ethos, different intervallic structure, different group of notes.

that the music, instrumental, vocal, or both, is created on that, and you sit and listen, or you become part of the ritual where you're involved, getting your mind out of the way, your consciousness now is exposed to a variety of different ways of being. Based on what?

that the music, instrumental, vocal, or both, is created on that, and you sit and listen, or you become part of the ritual where you're involved, getting your mind out of the way, your consciousness now is exposed to a variety of different ways of being. Based on what?

that the music, instrumental, vocal, or both, is created on that, and you sit and listen, or you become part of the ritual where you're involved, getting your mind out of the way, your consciousness now is exposed to a variety of different ways of being. Based on what?

Different mathematical ratios, harmony closer to the harmonic series frequencies that are now, you're hearing them, adapting to them in the sound of the gong, you're doing overtone singing, Or the discs, the bells, the harmoniums, the singing bowls.

Different mathematical ratios, harmony closer to the harmonic series frequencies that are now, you're hearing them, adapting to them in the sound of the gong, you're doing overtone singing, Or the discs, the bells, the harmoniums, the singing bowls.

Different mathematical ratios, harmony closer to the harmonic series frequencies that are now, you're hearing them, adapting to them in the sound of the gong, you're doing overtone singing, Or the discs, the bells, the harmoniums, the singing bowls.

What you do with that, what you recognize, the work you do in quieting the maya, quieting the misguided perception, the thoughts, the mental diarrhea we have within us all the time, the story, the rumination, the attachment, bringing harmony to that. This is what we need to do collectively. This is not woo-woo. I've done studies. Look at the word I just gave.

What you do with that, what you recognize, the work you do in quieting the maya, quieting the misguided perception, the thoughts, the mental diarrhea we have within us all the time, the story, the rumination, the attachment, bringing harmony to that. This is what we need to do collectively. This is not woo-woo. I've done studies. Look at the word I just gave.