musicians of old

Chapter 696 Temporary itinerary

"Some kind of... strange tone series system? The ending tone of each group is the same as the starting tone of the next group. Although their forms are different, after a few semitone transpositions, they cannot be transposed again, because the resulting tone series is exactly the same as before. In other words, it only needs to be transposed in shorter steps to return to itself?"

Many musicians, music critics, or people who study the mysticism, while keeping their ears open, stare at the sequence of notes and chords they have written down on paper.

"This property is not possessed by any previous mode! Regardless of whether it is seven-tone or five-tone, regardless of which nation, regardless of religion or secularism, it always takes 12 consecutive transpositions to return to the original state. This is not called return. The 12-tone equal temperament is like this, but they only need 6, 5 or even 4 times to complete the true return! Yes, the diatonic scale played by impressionist musicians in the past few years seems to have similar properties. It becomes the same after 2 transpositions, but the diatonic scale is an extremely special existence after all! And Father Lavoisier here seems to have developed a total of six or seven different modes, each of which has three to six different transposition forms, thus forming a mysterious and huge unique religious vocabulary!"

"Is there some kind of... unique rhythm system? Master Lavoisier seems to have found inspiration from the 'tara rhythm' and 'iambic' theories developed by the ancient Janus philosophers, and transformed them through the 'principle of additional notes' and the 'principle of non-precise expansion and reduction'. I have recorded at least more than 120 variations!"

"No, there is another more important principle - whether these rhythms are played upright or reversed, the results are the same, that is, reversed is meaningless! This is an 'irreversible rhythm'! It seems to be praising the absolute authority and inviolable power of the 'Eternal Fire' and the 'Endless Fugue'. It is not surprising that such a metaphor can be achieved and the invisible power called upon by faith can be used to enhance it!"

In the 14th song, “Angel’s Gaze”, a horn-like melody bursts out from Fanning’s fingertips, with a full, powerful tone. The birds’ singing resounds through the night sky, and the angels’ wonder gradually grows.

The 15th piece, "The Kiss of the Holy Child", is the longest slow movement, with five sections: "Sleeping", "Garden", "Tender Embrace of Love", "Kiss" and "Shadow of the Kiss". It starts with a gentle swing based on the "Father's Theme", and then the same tone repeatedly imitates the distant bell sound, the texture flows lightly, and there are constantly dazzling brilliance bursting out from it.

The 16th song, "The Gaze of Prophets, Shepherds and Magi", is a strange music, played by gong and oboe, showing the stubborn rhythmic skills of oriental snake charmers. The grand music is combined with the nasal timbre with a prophetic temperament.

Track 17, "Silent Gaze", is a scene of peace and tranquility. On the altar dotted with stars, the sound of Fanning's hands playing the keys is like confetti flying in the air during a festival, or like delicate gems gathering together and emitting light when they touch each other.

"It's an impossible harmony of charm!"

“Who says that only the rhythm of The Rite of Spring is magical?”

A group of musicians who graduated from seminaries in various places continued to shout in their hearts.

Because they discovered that what Master Lavoisier taught was a complete set of extremely important modern religious music composition techniques!

It should be said that in the past few years, under the exploration of major avant-garde schools, some of them have already sprouted. Some of them are not just explored by the seminaries.

But before, there was no systematization. Now Fanning has demonstrated a complete set of procedures that can be directly applied in religious composition practice.

The corresponding church mysteries will also be expanded and applied!

"The two areas, harmony and rhythm, correspond to 'limited displacement mode' and 'irreversible rhythm' respectively!" The Pope's eyes were shining, and he gave instructions during the rest time before the beginning of "Silent Gaze". "Let the major seminaries compile it into a book and include it as one of the courses for senior students. Well, we will organize it first, and we will also find an opportunity to let Master Lavoisier give it a final review."

The bishops behind the scenes also engaged in heated discussions.

"Limited displacement mode and irreversible rhythm, this is the important means by which Father Lavoisier realizes the 'impossible charm'. I believe it will lead me to the rainbow of theology!"

"A variant of the modern musical scale system? If Judge Melaltin wants to strictly define it this way, it's fine, but it's best not to simply regard it as a musical scale!"

"That's right, the 'limited shift mode' is definitely not a scale, but a group of harmonic colors! I appreciate the adjective used by Cardinal Richelieu just now - the rainbow of theology!"

"Well, it's very strange. They seem to exist in several tonal atmospheres at the same time - but not polytonal - once the composer has mastered this technique, he can freely give one of the tones a temporary dominant position, or simply let the inspiration drift."

At the end of "Silent Gaze", the decorative descending pattern played by Fanning falls slowly like scattered pearls, slowing down the momentum of the music.

It is like the fog in the early morning that has not dissipated, covering the lush green of the green hills after the rain. The music echoes in the overflowing gospel and mystery.

At the end of the performance, the direction of the development of modern religious music creation of the Holy Sun Church was initially pointed out. What is impressionism? What is mysterious chords? What is the twelve-tone system? What is holistic serialism?

Clergymen who believe in the "eternal fire" and the "endless fugue" should write modern religious music in this era like Father Lavoisier, using "limited displacement mode" and "irreversible rhythm"!

Many people have been inspired by this and are conceiving their next work.

"The preaching itinerary should change direction, right? Master Lavoisier will have to go east next, not along the river anymore." A bishop said.

"Well, the next stations we choose are quite sparse, and we will reach the Holy City in just a few stops, so we must prepare ourselves as soon as possible. There is one very important thing that I must first ask the saint for his opinion. Um, Master Lavoisier is here." Janing XIX nodded and then reminded him.

After answering questions from the local priest, Fanning did not leave alone, but walked towards the group of senior officials in the shadows.

Melaltin, who had been greeted in advance, greeted the Pope respectfully after exchanging greetings with him.

"Your Excellency, I sent you to investigate the whereabouts of the Gentile Vincent Van Nin that day. How did you do that job?"

Fanning's tone was gentle and polite.

"Master Lavoisier has sent us to inquire more about Vincent, and our hands will complete the work."

Ever since he was told about this matter at the end of the previous stop, Melaltin immediately mobilized all the church's forces to investigate, without any prior probing or questioning.

"All the whereabouts we can find after Vincent came to Janus in 909 New Calendar are listed here." Melaltin took out a dark golden envelope from his lapel.

Fanning took it and began to read it calmly.

During this time, his eyes lingered briefly on several sentences as he pondered.

After a while, he finally raised his head and spoke, explaining an unexpected trip:

"Tonight, you will send a few men with me to the upper reaches of the Hedgewell River."

(End of this chapter)