Mark Changizi

In music, that's called the tessitura, the difference between the top and the bottom. But also, so the prediction here is that Um, faster tempo things correlates with higher, bigger tessitura sort of in real world movement. Is that true in music?

Do higher, bigger tessitura songs actually tend to be more bigger, faster in tempo or, and vice versa, which is not what you want when you're the piano player. When, when someone says, Hey, here's a much faster song. You're like, great. Hopefully it's a really small tessitura. Cause I can just, no, in fact, The faster the song, the tessituras get wider and wider, for example.

Do higher, bigger tessitura songs actually tend to be more bigger, faster in tempo or, and vice versa, which is not what you want when you're the piano player. When, when someone says, Hey, here's a much faster song. You're like, great. Hopefully it's a really small tessitura. Cause I can just, no, in fact, The faster the song, the tessituras get wider and wider, for example.

Do higher, bigger tessitura songs actually tend to be more bigger, faster in tempo or, and vice versa, which is not what you want when you're the piano player. When, when someone says, Hey, here's a much faster song. You're like, great. Hopefully it's a really small tessitura. Cause I can just, no, in fact, The faster the song, the tessituras get wider and wider, for example.

So these are these kinds of predicted regularities between these different kinds of patterns of modulations of loudness. beats and rhythmic things that are connected to the time lock to the beat, as well as to... So, there's like 80-something different kinds of regularities you can show. For example, how fast do humans turn? And so, we got data from soccer players.

So these are these kinds of predicted regularities between these different kinds of patterns of modulations of loudness. beats and rhythmic things that are connected to the time lock to the beat, as well as to... So, there's like 80-something different kinds of regularities you can show. For example, how fast do humans turn? And so, we got data from soccer players.

So these are these kinds of predicted regularities between these different kinds of patterns of modulations of loudness. beats and rhythmic things that are connected to the time lock to the beat, as well as to... So, there's like 80-something different kinds of regularities you can show. For example, how fast do humans turn? And so, we got data from soccer players.

How many steps do they take to turn 90 degrees? And so... At the top of the high pitch is when it's coming directly toward you. Low pitch is when it's moving directly away from you in a tessitura. So typically, people, when they turn 90 degrees, take about two steps to do it on average. They can go, obviously, faster if they just go one way real quickly.

How many steps do they take to turn 90 degrees? And so... At the top of the high pitch is when it's coming directly toward you. Low pitch is when it's moving directly away from you in a tessitura. So typically, people, when they turn 90 degrees, take about two steps to do it on average. They can go, obviously, faster if they just go one way real quickly.

How many steps do they take to turn 90 degrees? And so... At the top of the high pitch is when it's coming directly toward you. Low pitch is when it's moving directly away from you in a tessitura. So typically, people, when they turn 90 degrees, take about two steps to do it on average. They can go, obviously, faster if they just go one way real quickly.

And so to go from toward you to away from you quickly would still be about four steps. And so that would be about four beats. It typically takes a measure. So you can actually look across thousands of songs and ask, is it usually the case that you move a half a tessitura in about two beats.

And so to go from toward you to away from you quickly would still be about four steps. And so that would be about four beats. It typically takes a measure. So you can actually look across thousands of songs and ask, is it usually the case that you move a half a tessitura in about two beats.

And so to go from toward you to away from you quickly would still be about four steps. And so that would be about four beats. It typically takes a measure. So you can actually look across thousands of songs and ask, is it usually the case that you move a half a tessitura in about two beats.

And in fact, you can show yet, these in fact determine the baseline time ranges of how quickly melodies move through the test stores, things like that.

And in fact, you can show yet, these in fact determine the baseline time ranges of how quickly melodies move through the test stores, things like that.

And in fact, you can show yet, these in fact determine the baseline time ranges of how quickly melodies move through the test stores, things like that.

Sit still.

Sit still.

Sit still.

It's not always just one guy or gal walking. It's often complicated duets and different things. And in some sense, what I work out in the book is sort of the baseline boring dialogue. here's the baseline kind of things that humans do. Any good composer is deviating from that baseline to create interesting stories, right? Sure, of course. So I'm not the artist type.