The musical miniatures and theoretical exercises in this book correspond to one of the various existing possibilities, which allow them to be given a possible closure, term or rest. They were written to expressively address aspects of auditory education and its writing. Their unstable condition, in a gerund, allows us to consider them alien to a crystallization, to a petrification. The student body can look for other outcomes that are more interesting, shorter or longer, unexpected, unheard of! than those provided in the book. In this way, he will achieve, in addition, the learning of the theoretical contents that originated them.
Although, the purpose of them, is found in the learning of specific contents revealed in their title or subtitle, whether referring to the ordering of sounds and silences around their duration, height, dynamics or other aspects, it is expected that this appropriation allows the achievement of something even more important... that the student becomes aware that it is possible to generate others, of his own authorship; that he finds himself before the abyss of creation, as when a bird, on the edge of a cliff, just before taking its first flight, in ecstasy observes the immense valley that stretches out at his feet and that now, he will be able to visit and enjoy .
The principles and formative foundations of listening education and its writing, are found in being able to distinguish the contents, isolate them. Repeat them as many times as necessary until you become familiar with them through their execution, intonation, percussion, writing, transposition, augmentation, retrogradation, inversion, recognition in the midst of other timbres, etc. deep down, manipulating them, playing with them, observing how they acquire different aspects and functions within a sound discourse. Once identified, an invitation to play continues, to enjoy improvisation and writing. Learning arises as a consequence of these actions. It is important to consider that talent is not enough to generate a musician: it is necessary to equip them with technical tools that allow them to express themselves. The systematic and conscious study of what is learned is necessary, in such a way that this appropriation becomes part of the identity of the student, an increasingly rich identity, thanks to what reveals the possibility of expressing oneself through musical phenomena... an experience that can become transcendental in terms of human existence.
The complex ordering of contents in the teaching-learning process of music theory.
Instead of cramming words to describe content, the book exhibits them in an expressive musical context, trying to show that these phenomena occur, exist in another reality, in another place... in the world of sounds, not in the world of writing. . Writing is a means to reach them; a resource to achieve, as "maps" or "architectural plans" access to musical phenomena, through scores that try to refer to them, without replacing them. The scores are somehow vestiges, relics that allow this approximation. For this reason, it is important to acquire with solvency the way of interpreting, with the greatest possible precision, what the conventional signs of the writing of musical phenomena represent and, in turn, to acquire with the same poise, the skills to discern and perform with the voice. or with musical instruments, intervals, scales, ecclesiastical modes, and in turn, use them in terms of a sound discourse.
With the purpose of advancing learning, in parallel, in the various dimensions that make up the sounds and their silences, the contents are presented discontinued. Thus, the intervals, for example, although they start from the first exercise, (it is impossible not to do it) their recognition and execution occurs when they are presented when the terms have been addressed and meet the conditions to understand them, isolated in a table. Then, they are applied within a sound context where they acquire relevance, enriched with rhythmic contents that, in turn and for the same reason, are also discontinued and finally, it is proposed that the student body generate other paths, typical of their way of expressing themselves.
Musical phenomena simultaneously encompass three complementary variables. As given in scores, Duration is represented on a horizontal axis that moves from left to right. The concepts derived from Height are represented vertically, where high-pitched sounds are presented at the top and low-pitched at the bottom, and more complex phenomena, due to their transversality, can be observed in graphic terms, obliquely (dynamic , doorbell, etc.)