zito . syd barrett. bouncing away forever further. enamel on canvas. the ditty of dogma. is the heat-instinctive notion-control of Tambourine Man.Closer to the hearth-fire than echo-voice oblivion. he who finds the rhyme. the silly song and dance of damnable Religion. rattle and hum of human harmolodics.

some say about how stimuli enter the membranic confines of our being.Music is a Sandwich: Just Eat It! Music is an art of individual and group creation---in the group context. it’s all a part of the dynamic of completeness we call existence---put another way. the degrees and depths of character distortion in any person--- The collaboration of ideas often produces a more varied array of sounds and colors than the singular mind working in isolation---a collective of idea-producing creatures. can act in unison and fluidity to synergize the actions of the whole into creative soundscapes. etc. getting picked up by someone.---once the music is in the air. the act of musical expression. enveloped in a black cloud of compounding reactionary behavior. this type of open and tolerable space also promotes the player’s intuitive connection to sound---it is the exception rather than the rule that all the players in a given group are at the same place regarding the agreed upon freedom and respect of the environment in terms of collaborative spontaneous musical expression---often times it is a delicate situation as people usually react differently to new social encounters and will feel a variety of irrational things. it’s the discerning person who senses when the iron is hot and strikes. resulting in a richer deeper sound--Like standing a quarter upright on its side.---but what it really comes down to is that most people haven’t experienced true collaborative expression in music or anywhere else for that matter. etc. the collaborative expression of ideas produces more contrasting elements than those which arise in the singular atmosphere. the fire of creation. being listened to. where the entirety of bodymind wholeness can embrace the creative act. give and take. allowing sounds to flow where they may---of course. and a will toward relinquishing control on the creative environment. like they have let the group down because they don’t immediately produce the chunk of gold that is or becomes the song. no matter how sweet the initial fruits. allowing the life in the music to bring about a particular creation’s unfolding---within this spiral of control and allowance. heat. the sparks of creation are often times best brought to flame when they are left to develop unhindered by an ego’s resolve---and as far as the duel of creation is concerned. like the different ingredients coalescing in a sauce to create a unique taste experience. it has fulfilled its purpose and is now available for other possibilities such as falling over. sparks.--The duel of creation in music also transpires in the transformation of one person’s song in the group environment---in this sacred ritualistic act. we have to a certain degree. so certain fears will arise connected to deeper extenuating factors of the bodymind. it is everyone’s peculiarities that creates distinctions between one person’s perceptions and another’s. where a stand-off of sorts occurs---individual perspectives are brought together producing friction. the ego can’t train wreck the mission if all members of the musical family are left free and unhindered to search their development in order to see where their current chops may best fit the song. all possibility contained in the crucible of mutual endeavors---it takes a combination of deft maneuvering. wherein the music becomes stifled. is more achievable through practice---practice is made less something that is being imposed. etc. it can be a duel of irrational concerns. allows the songwriter to travel as deep into their being as possible producing expressions of song and sound from the gestalt of personal experience---the entire realm of subjectivity is an expression of universal functional processes. we also have the ability to be completely open. considering of course. all sparks land in the midst of their time--The uninterrupted space of creation. and can also sense when a loose grip on the handle will better serve the situation---when the sound-environment is approached in a loose and free way. a joyousness stemming from its complexity---often. it has fulfilled its purpose and is then available for other possibilities such as dissipation. they question their abilities. the interaction between the players can often be observed as a duel of creation. by making the atmosphere it happens in one of fun. and one where there is little or no attachment to outcome---once the quarter is upright. getting recorded. whether it is solo or group. which are associated with an authoritative development and don’t . calamity is surely on the horizon---but when the duel is a wink and a secret handshake and the creative environment is one of fun and fruitfulness via the flow of intuitive directions and ideas.

i. in general. or essence.allow most people to experience real freedom and openness. substance. luminosity. identity. by reeling-in the component parts. but the conversation just went somewhere else and it was fine…Maybe you liked where it went. tactile and ethereal---the dynamics of group creation. the sound-destination can be equivalent to a painting. which is put next to or over other colors. it is more challenging to undo--In the group situation. this is the way we were dealing with music. the beauty of any sound-destination is that it can be changed infinitely in the process of development.e. gets its strength. the characterological obstacles of reaction arise in some form or other when the average person is confronted with an environment other than the traditional one of authority and hierarchy and its constituent valuations of leader and followers. and it kind of went off in another direction? Maybe you never ended up making that point. —Duke Ellington How many times have you talked to somebody and you got ready to make a point. be brought back to reflect the original form. it becomes part of our music. occupying the special place it does in the formation and crafting of sound as music. And everywhere is the best seat.. which give it its observable and demonstrable qualities and quantities of strength. known and unknown. in that a color. by having a direct connection to its true spirit. substances. which arises because of where it resides in relation to the other colors in the sound-destination. otherwise they can’t function as they typically do--Even though there can be a leader of a sound-destination (composition. song). or is separated by a percentage of accompanying colors. while retaining the flavor of everything played by everyone thruout the development of the song---this flexibility is a luxury verses traditional painting. and luminosity---true to the universality of being. and essences occurring all around any given body. it is the bodies. identity. where once the original is altered.e. Well. i. brings to the sound-destination the uniqueness of the totality of emotion represented by the participating individuals--- Everything we do is Music. and then. for example the person who wrote the song currently being developed. most people need to be told what to do. —Herbie Hancock . quality and quantity arise with equal force within all realms of sense. —John Cage If I hear a sigh of pleasure from the dance floor..

ballad counters her extensible refrain. rented paddleboat in 4/4.SOUND MAP (transverse Mercator projection) intimate tongue dark earthing verb forked dirt divides zero parts whole into bone flower X-Ray ice shadow shed stillness licked skin LIVE UPDATE Inventing the map. birds bop tweet in 6/8. lyric blues off the top of my head. Westward the Course of Empire Takes Its Way. Columbia hitched the wheelbase joy of being. shadow water run over my hand . Monk with Coltrane at Carnegie Hall.

really. we work on feelings. we work on feelings. we WORK on feelings. really. really. we work on feelings. really. really. REALLY. really. WE work on feelings. really. really. really. we work on feelings. really. we WORK on feelings. really. REALLY. really. we work on FEELINGS. really. really. really. we work on feelings. we work on feelings. we work ON feelings. we work on feelings.Harmo lodic <3 a gathering of works hop energy music cont act ther edthreads @y ah oo. —Marc Bolan . really. really. WE work on feelings. really. we work on feelings. we work on feelings. we work on FEELINGS. really. really. really. we work on feelings. really. really. we work on feelings. we work on feelings. really. really. really.com to particip at e and shar e H a rm ol od ic r o p wo k sh WE work on feelings. REALLY. we work on feelings. we WORK on feelings. really. we work on feelings. really. we WORK on feelings. we work on feelings. we work on feelings. we work on FEELINGS. we work on feelings. we work on FEELINGS. really. really. we work on feelings. we WORK on feelings. we work on feelings. we work on feelings. really. really. really. we work on feelings. really. we work on feelings. really. WE work on feelings. really. we work on feelings. really. we work on feelings. we work on feelings. really. REALLY. we work ON feelings. really. really. we work on feelings. really. we work on feelings. really. really. we work on feelings. WE work on feelings. we work on feelings. we work on feelings. really. we work on feelings. we work ON feelings. really. really. really. we work on feelings. we work on FEELINGS. really. we work ON feelings. we work ON feelings. we work ON feelings. we work on feelings. really. really. really. we work on FEELINGS. REALLY. we WORK on feelings.

Which is a clumsy way of saying that the fact they played musical instruments really. —Cullen Seeney. dreams. emotions All uniting into an aural identity. the Grateful Dead were more of an idea than a band. —Stan Shaff In a lot of ways.c We are conceived in sound we grow and emerge in its wake. November 27. that it wasn’t just fingers and strings and drumsticks but rather. sound images. memories We share. somehow. Our history is a collection of sound sensations. a collective of seekers aiming their arrows at the Infinite. really well was far less important than the shared intuition that they were actually instruments themselves: master craftsmen in whom a holy fire found its rightful vessel. Requiem for the Dead. Which is an elaborate way of saying that the Dead as musicians were greater than the sum of their parts. experiences. 2005 e . It is this ocean of recollections. just beyond the pale of our usual understanding.


.its huge…this could not be more like breaking down the rock n roll myth… pretty natural development too… yeah right… out of the harmolodics into the crafted song…what you are talking about…thats something to write about right there… 2 yeah well thats key… the harmolodics a spontaneous presentation of a musical expression leads into order…from disorder creates order… yeah it sets growth right… 9 2 9 2 = 9 2 im not out of tune your just not listening close enough… 9 2 = when the music is energetic…when were playing harmolodics…the endings…we end together…were dissipating our energies at the same time…we look up and were both done… weve been aware of the same paths and naturally you would know when you are both at the end…you both know if you come to the clearing you both know if you hit the asteroid you both know.superfolk transcriptions 2 …nice dude i like that… thats a good way to figure it…thats a good way to find out…good work on that… thanks… just to finally straighten that out… it was cool doing it like live…making changes as we just said it… yeah totally…well that was pretty…a phenomenal demonstration of something right there… songwriting… yeah exactly what it was yeah songwriting… we were becoming like crafters of songs in a way we havent before… thats neat… yeah its rad.. 9 2 9 9 2 = 9 you know i came to figure that part of the whole harmolodic song composition and harmolodics in general is never settling on a structure or for the most part…its good to know where things are going but it switches up a measure before a measure after and things still stay together…its more a part that the individual isnt set on whats coming…you know that anything could change at any point…its part of the game… its cool doing different instrumentation on songs that we kinda know… yeah i love that… 9 2 9 2 9 2 9 .

playing sound from the space of the heart. harmolodics is a way of being and applies in the broadest sense to all passionate communal activities. emotions. energies as harmolodics. cis-um ci-dol-om-rah spiritual || senses : soul || sensorium harmolodic music * one *** chord ***** wonders ******* monochords ********** mantrachordsongs . the orgonomic sense = the energetic life sense where good = god. —Keith Jarrett a song has shape <> form <> structure visualize/map the arc of energy …………………………… soundscape//soundshape some players feeling the harmolodics: akron/family albert ayler wooden shjips stepping into our power. shining with determination and conviction and certainty of life teaming our wholeness microscopic to macroscopic in soundmusic. playing from the primary sense. feelings. from the divine creative urge—sourced. making room for our wishes.about harmolodics: We are all players and we are all being played. rooted and growing from sensations. the first sense. harmolodics as intuition in music.

and)))))) unencumbered.The music of all creatures has to do with their loves. —Wilhelm Reich reconvening as)))))))) migratory butterflies)) return to the))))))))))) eucalyptus trees home) sweet home. curiosity. out of) the trap of many. in the) flow of our raw pure))) essence.)))))))))))) observation. I hear the music of creation sounding in harmony with the law of nature.) connection.))))))))))))))))) . crying the))))))))) sadness. unjudgmental. natural)))))) emergences from)))))) immersion in the)))))) exploration. free. a cappella jam on it. Is it not the same with man? —Henry David Thoreau When the wind howls around my cabin in the mountains. songs a))) sprouting forth)))))))) organically. even of toads and frogs.)))))) around the horn of))))) plenty. and)))))))) engagement of playing) ego-free. and unreactive. singing the)) joy.

If you block out your mind. music is—or should be—self-expression. I try to forget all I know about the instrument or about music. —Rob Aiman When I’m playing. unity with the original source. —Ludwig van Beethoven . Music is a love affair between musicians. If I analyze what I’m playing or try to plan in out scientifically.After all. —Gabor Szabo Music is pure vibration. you can then sort of listen to your emotions. the notes would not come out sounding fresh. I have to do this in order to create something new and fresh. —Wilhelm Reich Music is the mediator between the spiritual and the sensual life.

orders and disarrays. intentions and ambivalences. so inclusively between instruments---its not the fact that a C-chord makes a certain sound when induced to do so but the energy cast in such an induction. in the air with the music. is opposed in its way of living to any sense of culture which seeks to impose its special brand of rightness and what’s acceptable on others---the difference between the harmolodic perspective and the cultural perspective ! the exercise of freedom by relinquishing control. organization. the harmolodic orchestration of the spheres’ melody of chance. albeit a discordant unity in moments of transition. riding the omnivariance. the warm caress to oblivion and back as scallop-notes and leap-tones ring about the vibrational due. que pesado. . sugar-latch oaths embracing distance and proximity. say with a guitar. . as we create life-beauty from the thickness of our gathering intentions conjoined in the common purpose of rejoicing in the inner glow of the present--- *) at this harmolodic juncture of particulars and vagaries. creatures of sound operating on values of tone creation and decay. from a wholebody concentration thru the hands and into the wood and steel of the instrument and the circuit which is then created and . tender and ruminative. when in the rhythmic flow of creation nothing is out of place or inconsequential. sisters and brothers arrayed for the plenitude---to extricate is to guide anew the self to the tribal round of pulsating membranic inner-onenesses. instruments as tools of sound. anything organic or anything enlivened by organicity. in concordance with the raw pulse of eros. there for the picking. sounds the tools of transformation. which is made harmolodic in its association with the processes of organicity--*) the harmolodic stance. the membranic dance of creation’s possibilities--*) music isn’t about this chord or that structure. changing forms. these associations of energy and mixings of blood. in the sense of being rigid and absolute as to outcome/form---eliminate from the creative process the most useful amount of cognition/mental manipulation ! simultaneously cultivating an awareness of the movement of energy between the players in and around the music--*) the harmolodic way of being functions without a presubscribed mode of thinking and behaving and in accordance with natural rhythms---the water drop of creation. a course of brevity sustained. the precious juice. awash in the glow of good-feeling. the sound-crest of human-animals carving space for hearty life-natural ways---public domain. solomente ahora!---all remembrances and foggy recollections free of misgivings. we sing together for ourselves and everything . with grace-tones-magic-now dissolving and forming all at once perpetually. necessarily---being connected to. the harmolodic way of life---that which due to its fundamental sense of freedom. in motion and impenetrable--*) musical instruments as in musical chairs. as in the nectar. a loose grip on the handle to frolic and fend with Splendor. the coarse-strength and graceful-intent of human-animalistic desire and passional-attractions---as a result of this connection the inherent and fundamental opposition to any imposition seeking to restrict the development of this free-flowing nature---so with the music so with life. *) nothing is ever wasted or forgotten. que futuro. the harmolodic dream maintained between all contact points. conscious involvement therein. heartfelt sympathies all around---take the thread and run the noodle thick wood pathway seen awash in a galaxy’s tow. at least not primarily---these organizations are secondary to the primary energetic connection between player and instrument and between players. the condensed fervor of ballast endeavors. the duration of instants is the place to start---begin within the mystery of movement. the Accord. the inherent malleability of form. music makes the world go round. aware of this natural tendency of the energetic continuum to be spontaneous and therefore improvisational in its movement in and thru the creative impulse---the allowance of the process of creation within/without oneself.***harmolodic being---the harmolodic adventure.

would amount eventually to the large-scale realization of the unnecessity of an authoritarian social structure as to the governing of our vital needs. tenuous---the brevity of bloom with prolific yields from the source protected and taken care of---a sense of listening and friendship. . leading the drive to impose on the world the present brand of fascism (freedom and democracy boiled down to the slave-wage and the right to vote in public elections. freedoms the present globalitarian-empiric flesh-eating-conglomerate machine-god. if one is open and capable of distinct impressions.e. the fruition of masses of people taking into their hearts and hands the protection and fostering of one and all’s happiness and satisfaction in love and work---the u. a technocratic world-agenda will be carried out. or rather their allowance. pushing excess as virtue and separation as a paramount desire. in which an increasingly subservient populous displays a limited knowledge of the origins of class-antagonisms.*) a love and familiarity (they could be the same thing) with the transient. wants to forbid the populous.s. where. tentative. thru their consumption of goods and services respective of one’s position in the slave-wage hierarchy) is happening simultaneously with the tendency toward a truly work-democratic society regulated by the harmonious use of all its members’ energies naturally deciding culture---the world will be forced to enjoy the relative freedoms of the west (as diversity will protect itself no matter how trammeled by cultural homogenization). because the inclusion of these freedoms in everyday life. enamel on cardboard. regardless of the outcome. zito . having the recognition but not necessarily knowing--*) rock and roll is good enuf languishing in the scepter-hold sleeping in the serpent’s nose rock and roll without measure. i. while a unified push to shake this imposition develops . is a manifestation and a constant reminder of the natural freedoms of the autonomous-individuous within the primordial unification of swirling lite---freedoms granted the organismic compact of biological tension and release. . syd barrett..