Category: Music and Life

Articles and ideas that touch on the confluence of music and life.

  • Where Nothing Ends: Legato and the Truth of Connection

    Where Nothing Ends: Legato and the Truth of Connection

    First Section: The Sound of Vulnerability

    There is a note. It begins with the press of a key, the weight of a finger, the flow of eternal causality into sound. The vibration swells, full and open, carrying its tone into the room. It lingers, fragile and unguarded, before fading—not into silence, but into the next note. As the second sound rises, the first is not gone. Its sound waves still move the air, still mingle with the new. The two are inseparable, their boundaries dissolved. What you hear is not two notes, but a single, unbroken thread.

    How should one play legato? To play legato is to surrender to this truth. It is to acknowledge that there is no pause, no boundary, no space to mark where one moment ends and another begins. The notes flow, as time flows, as breath flows—continuous and unbroken. Even when the sound fades, it does not vanish. It becomes part of the next, inseparably intertwined. This is the paradox of legato: to listen is to hear the connection, but to live it is to know that connection was never needed. There was no separation in the first place.

    In the act of playing legato, there is nowhere to hide. The sound reveals everything. The tone, the dynamics, the pitch—all are exposed, stretching across time in a way that asks more of the player’s attention to shaping and crafting the note. Staccato can conceal; it can mask a fleeting note with brevity, leaving no time to linger on imperfections. Though legato doesn’t indicate tempo or speed, legato connects. It insists. It lingers long enough for every flaw, every nuance, every beauty to be fully known – in spite of tempo.

    Legato, then, is not just a musical technique—it is a way of being. It demands vulnerability. It demands presence. It demands the courage to flow, without breaks, without excuses, without rushing past the places that are difficult or raw. To play legato is to embrace the seamlessness of existence, to lean into the reality where nothing is separate, where everything belongs.

    Second Section: The Truth of Time

    Person giving themselves over to the legato stream of life.

    Time does not wait. It does not stop or pause or falter. Like the legato phrase, it pours forward, unbroken, carrying with it everything that has come before. A note lingers in the air, its vibrations mingling with the next, and we call this connection. But the truth is, there was never any break between them. What we perceive as connection is the illusion of separation falling away.

    In music we notate sound as black dots with space between which simply furthers the illusion of separation. In life, we are similarly deceived by this illusion. We carve time into pieces: hours, days, years. We label moments as beginnings and endings, departures and arrivals. But beneath these human distinctions, time continues its legato, one endless stream. The breath you take now cycles into the one you took before and the one you will take next. The conversation you have today is shaped by the silences and words of yesterday. Nothing stands alone. Nothing is truly separate.

    To live in this truth is to embrace legato—not as a concept, but as a practice. It means letting go of the need to define the edges of moments, to resist the urge to isolate experiences as if they were islands. A legato life is one that acknowledges the endless chain of cause and effect, that feels the weight of the past and the pull of the future, yet remains present in the now. It is a life that understands time not as a sequence of isolated beats, but as a melody without gaps.

    Yet this way of being is not easy. Just as playing legato requires discipline and focus, so does living it. In music, the legato phrase asks the performer to give their full attention, to shape each note with care while never losing sight of the whole. To live legato is to do the same—to shape each moment with intention, even as we surrender to the structure of the larger melody

    Third Section: The Vulnerability of Flow

    Barber Adagio under the stars

    There’s a reason we mix legato and other articulations in music and in life. While legato embodies continuity, staccato and accents bring contrast, punctuation, and release. Without these breaks, our experience can become overwhelming, even suffocating. Consider Barber’s Adagio for Strings, a work that bathes us in pure legato. The sound is seamless, unbroken, pulling us into its depth with every rising and falling phrase. It is beautiful. It is devastating. And yet—how long can we sustain it? How long can we immerse ourselves in its unrelenting flow before we crave a pause, a breath, a moment of articulation to anchor us?

    In life, as in music, the constant flow of legato can be both liberating and unnerving. Buddhism and Taoism teach us that the separations we perceive—between one note and the next, one moment and another—are illusions. They remind us to see beyond these artificial divisions, to live in the present as part of a seamless whole. And yet, human experience is marked by our need to define, to isolate, to name. We create breaks in the melody, not because they truly exist, but because we need them to make sense of the song.

    This is the paradox of legato. It shows us the truth of continuity while also revealing our discomfort with it. To embrace legato fully, as in Barber’s Adagio, is to surrender—to let go of the illusion of separation and immerse ourselves in the flow. But this surrender is not easy. The vulnerability of legato lies in its demand for presence. It does not allow us to step back, to hide in the spaces between notes or moments. It asks us to remain, exposed and connected, for as long as the phrase lasts.

    And yet, even in this vulnerability, there is power. In the unbroken line of legato, we glimpse the essence of existence: a flow that cannot be paused or divided, only lived. It is in this surrender to continuity that we begin to see the illusion of separation for what it is—a fleeting thought, a shadow cast on the surface of an endless river.


    Final Section: The Unbroken Presence

    In the end, legato is not just a musical articulation—it is a way of being, a way of seeing. It teaches us that life does not unfold in fragments but as a seamless, unbroken thread. It calls us to live in the flow, to shape each moment with care, and to recognize that every note, every action, is part of a larger melody.

    Barber’s Adagio fades into silence, but the silence is not an end. It is the transition into something else—the next sound, the next moment, the next truth. Legato reminds us that there is no true ending, only the continuous transformation of one thing into another.

    To live legato is to embrace this truth. It is to bathe in the flow of life, even when it overwhelms, even when it exposes. It is to know that the melody never stops, that every note belongs, and that nothing is truly separate.

    And so the music continues, unbroken, always forward. A single, endless thread, carrying us all.

  • Finding Quiet Within Noise

    Finding Quiet Within Noise

    Introduction

    This is the story of Haku, a middle-aged composer and performer who finds himself overwhelmed by the relentless soundscape of modern city life. Once inspired by the rhythms of urban existence, he now feels suffocated by the constant noise—his creativity stifled, his spirit crushed. In search of peace and reconnection, Haku embarks on a journey into the wilderness, where he rediscovers the quiet within the noise and the timeless resonance that links him to the world.

    Breakdown

    Haku hadn’t heard the music in months. Not the way he used to, at least. The city was loud, and it drowned out everything—the notes, the rhythm, even the silence. He sat at the piano, staring at the sheet of music in front of him, but the notes didn’t make sense anymore. They seemed to float, disconnected from the keys, from the sound. Somewhere outside, a truck was backing up, beeping in sharp, regular intervals. His phone buzzed on the table. The fridge hummed in the kitchen. There was no room for music in all this noise.

    He pressed his hands to his temples and closed his eyes. But the noise didn’t stop. It never stopped. He hadn’t slept properly in weeks, maybe months. Each day felt like a grind—like he was being scraped down, little by little, by the sound of the city. The honking cars, the endless chatter, the hum of air conditioners, construction sites that never seemed to rest. His ears were always open, even when he didn’t want them to be. Even in his sleep, the noise would creep in, rattling through his dreams.

    Music used to be his refuge. When he was younger, he could sit for hours, lost in sound. It wasn’t just about creating something beautiful. It was about finding order in chaos, about letting the music fill the spaces that nothing else could reach. But now, those spaces were filled with noise. Constant, overwhelming noise. And it wasn’t just the sound—it was everything. The city, the pace, the way life rushed by in a blur of lights and motion and sound.

    Haku felt it building inside him—pressure, like a dam about to break. He couldn’t take it anymore. The thought of another day, another hour, in this grinding, mechanical hum felt unbearable. He needed to get out. To leave. To escape.

    And then he remembered the forest.

    It was a place he hadn’t thought of in years. A small, remote patch of wilderness, more than twelve hours from the city. He used to go there as a child, with his father, before everything got so complicated. Back then, the world had felt quieter. Simpler. He remembered lying in the tall grass, listening to the wind move through the trees, the soft rustling of leaves, the distant calls of birds. There was no noise there—just sound. Pure, clean, and clear.

    He had to go. He didn’t know what he’d find, or if it would even help. But he knew he couldn’t stay. The city had become too much, too loud, too fast. He needed to hear something else. Something real.


    A Composer in Chaos

    Haku didn’t leave right away. The decision was made, but the act of leaving lingered, like the final note of a song that stretches just a little longer than expected. It was hard to pull away from the life he’d built—however noisy, however chaotic. The city had a way of holding on to people, wrapping them up in its pulse, its rhythm. The deadlines, the meetings, the faces—all these things that used to matter.

    But now, they were suffocating.

    A few days later he packed light. A change of clothes, a notebook, a few pencils. His phone, though he wasn’t sure if he’d even use it. There was something calming in the simplicity of leaving most things behind. He could feel the weight lifting, though he hadn’t even stepped out the door.

    It had been years since he last composed anything he was proud of. He’d had moments, small bursts of creativity, but they were swallowed up by the noise. He thought of the apartment he rented just outside the city—a place he’d once loved. There, he used to wake up in the morning and feel like he was part of something bigger. The energy of the city flowed through him then, his music blending with the sound of the streets, the movement, the life. But lately, it was just noise. The city had changed, or maybe he had.

    Either way, his music was gone. The melodies he used to hear in the wind, in the soft conversations of strangers, had been drowned out by the endless hum of machinery. A part of him wondered if they’d ever come back. Could music really disappear? Or was it just buried under the weight of modern life, waiting to resurface?

    As he locked the door behind him, he slipped his phone into his bag. Then he paused. The thought of it weighed on him more than the device itself. He stood for a moment, then pulled it out again, setting it quietly on the counter. It buzzed softly just as the door clicked shut.

    He thought about the first time he’d heard real silence. He was twelve, maybe thirteen, on that trip with his father to the forest. They’d camped near a river, and at night, after the fire died down, there had been a moment—a brief, fleeting moment—when the world seemed to hold its breath. No wind, no water, no animals stirring. Just silence. And in that silence, Haku had heard something more profound than any symphony. He had heard peace.

    But peace, it seemed, had slipped further away with every passing year. In its place was a constant, gnawing tension—the demands of composing, the pressure of performance, the endless cycle of creating and recreating in a world that never stopped moving. The music industry had turned into something mechanical, just like the city that surrounded it.

    He had forgotten how to listen. Not just to the sounds of the world around him, but to the music inside him. He had forgotten how to quiet the noise and let the silence speak.

    That’s why he was leaving. He needed to remember. He needed to hear the world again, without the filter of machines, without the static of modern life. Maybe then, he could find his music again.


    Returning to a Place of Peace

    The road stretched out in front of him, winding away from the city, pulling him further from the place that had become too loud, too crowded. He hadn’t taken this route in years. It felt unfamiliar at first, but as the hours passed, Haku began to remember. The small details, the turnoffs, the way the trees seemed to thicken the farther he drove. He had forgotten how much he missed this—the open road, the promise of something quieter ahead.

    For the first few hours, the city clung to him. It stayed in the rearview mirror, a looming presence. He could still hear the distant hum of it—like an echo that hadn’t yet faded. But the more miles he put between himself and the city, the more that sound began to dissolve. The buildings shrank, the traffic thinned, and the noise that had filled his life for so long began to soften, bit by bit.

    He stopped for gas at a small station on the edge of a town he didn’t recognize. The kind of place that didn’t exist on maps, where the sound of a bell on a door rang over a graining radio. The air filled with the buzz of insects instead of engines. He noticed the numbers ticking and marking the gallons and dollars on the pump unhurriedly flipped over as if everything was already slowing down just a few hours outside the city.

    The journey wasn’t just distance. It was time. It was space. It was stepping away from something that had wrapped itself around him, making it harder to breathe. The further he drove, the less he felt the weight of the city. It was like loosening a knot that had been pulled too tight for too long.

    By the time the sun started to dip below the horizon, the landscape had shifted entirely. Tall trees lined the road now, their branches forming an archway overhead. Haku rolled down the window and let the air in—clean, cool, untouched by the heat and grit of the city. He hadn’t realized how stale everything had felt until now, as if the very air around him had been clogged with noise, with tension.

    He drove through the night, knowing the forest he sought was still hours away, far beyond where any signal could reach, beyond where roads turned into paths and the world began to feel wild again. He welcomed the silence that came with the dark. It was a silence he hadn’t heard in years—the kind of quiet that settled into your bones, that made you feel small, but in the best way possible.

    There was a certain rhythm to the journey. The hum of the engine, the crunch of tires on gravel, the occasional rustle of trees in the breeze. These sounds didn’t feel like the city’s constant barrage of noise. They were softer, quieter, like the background of something larger. For the first time in a long while, Haku began to feel like he was part of the world again, not just moving through it.

    At dawn, he reached the edge of the forest. The road had narrowed into a dirt path, barely wide enough for his car to pass. The trees closed in around him, but in a way that felt welcoming, protective. He parked just off the path and stepped out and stretched his legs and back. The ground was squishy soft beneath his feet, the air thick with the scent of pine and earth. He breathed in deeply, feeling the quiet settle over him like a blanket.

    This was it. The place he had been searching for. The place he had been trying to find, not just in distance, but in himself.

    Haku stood for a long moment, listening. Really listening. The sounds were all there—the cooling engine, the distant chirping of birds, the whisper of wind through the branches. They were faint, almost imperceptible at first, but they grew as he let them in. It wasn’t silence. It was the opposite. It was life, in its purest form.

    And for the first time in years, Haku felt himself start to relax. The knot in his chest, the tightness in his shoulders, all of it began to unwind. He wasn’t sure if the music would come back. But this—this quiet, this calm—was enough for now.

    He shouldered his bag and walked into the forest, the trees closing in behind him.


    The Weight of Sound

    Haku walked deeper into the forest, the path beneath his feet soft and uneven. The trees towered above him, their branches forming a canopy that let through dappled patches of dawn light. The air felt different here—heavier, but not in a stifling way. It was the kind of weight that made you aware of your own body, of the way your breath moved in and out, of the quiet sounds that surrounded you.

    He hadn’t always been so disconnected from the world around him. As a boy, Haku had spent hours outside, not just in forests like this but anywhere he could explore—rivers, fields, even the small, wild patches of green on the edges of the city. His father used to take him camping, long before the pressure of music and deadlines and city life had swallowed him whole. They’d spend days hiking through unfamiliar places, never needing much more than a tent and a fire. Back then, everything had felt alive. Even the silence had a pulse to it, a rhythm that was easy to understand.

    But something had changed along the way. Haku couldn’t pinpoint exactly when it happened – graduating college, kids, the death of his father – but as the years went on, his life became noisier. The noise wasn’t just the city—it was the expectations. Somewhere between his early compositions and the contracts, the performances, and the critics, the simple love of sound had morphed into something more complicated. Every piece he wrote felt like a layer of pressure. Each time he sat down at the piano, the weight of what people expected from him – what he expected of himself – settled onto his shoulders.

    And then, one day, it had stopped. The music, the ideas—they just weren’t there anymore. It wasn’t a gradual fade, either. It was as though a switch had been flipped. The melodies that used to fill his head were gone, replaced by static. The city’s noise took over, seeping into every corner of his mind until there was no room left for anything else.

    Haku paused at a clearing, a break in the trees that let in the full light of the sun. He stood still for a moment, watching as the light shifted and moved, the shadows playing on the ground like slow-moving water. His father had loved places like this. He could still hear his father’s voice sometimes, the way he’d hum an old tune as they packed up their gear in the early morning, the smell of coffee and wood smoke drifting through the air.

    It had been years since his father passed, but Haku still carried those memories with him, the way certain sounds could trigger a flood of them. The way the crackling of a fire could make him think of their last trip together. The way a certain chord on the piano reminded him of his father’s laugh, deep and full, the kind of sound you could feel in your chest.

    He hadn’t thought about those things in a long time. But here, in the quiet of the forest, they came rushing back. It was as though the sound of the trees—the subtle swish of leaves, the low creak of branches—had unlocked something in him. Something that had been buried beneath years of noise.

    Haku took a deep breath, letting the air fill his lungs, slow and steady. He was still a long way from the place he had come to find, but there was something different now. He wasn’t in a hurry. He wasn’t running from the noise anymore. He was moving toward something, though he wasn’t entirely sure what that something was yet.

    For the first time in years, the world felt like it had space again. And in that space, Haku could feel the edges of something he hadn’t touched in a long time. Maybe it was music. Maybe it was just the memory of it. But whatever it was, it felt like a beginning.


    The Encounter

    Haku’s steps barely disturbed the ground beneath him. The undergrowth and trees didn’t feel confining. If anything, it felt like it was holding something within its silence, waiting.

    He heard the sound before he saw anything. A voice—soft, almost like a hum—drifting through the stillness. It didn’t call out to him, didn’t beckon, but it was there, settling into the air around him. The tone was balanced, gentle yet rich, like a note hanging in the space between words.

    Ahead, at the edge of a small clearing, Haku spotted an old, weathered structure. It might have been a shrine or a temple once, but now it looked like it had grown into the forest, its beams dark with age and moss clinging to its sides. And there, sitting cross-legged at the entrance, was a figure.

    The man’s eyes were closed, his head slightly tilted, as if listening to something beyond the forest. His robes were simple, faded by time, blending into the stillness around him. For a moment, Haku hesitated, unsure of whether to approach. He wasn’t looking for conversation, but the sound of the man’s voice had drawn him in, a vibration that seemed to reach out and find him.

    “You’ve traveled far.”

    The words landed lightly, not as a question, but as an observation. Haku felt the sound more than heard it. There was something in the monk’s tone, the timbre of his voice, that resonated within him. It was as if, in that single sentence, Haku had been heard, truly heard, even though he hadn’t spoken a word.

    He approached slowly, lowering himself onto the soft grass, a few feet from the monk. There was no urgency, no need to speak. The forest wrapped them in its quiet, a silence filled with the smallest sounds. Everything felt in rhythm.

    The monk spoke again, his voice even softer now, almost a whisper.

    “Do you know what I sound like to you?”

    Haku hesitated. The man’s tone didn’t suggest he was searching for a right answer. It was more like he was sharing something. A moment. A thought.

    “I… I’m not sure,” Haku said quietly.

    The man smiled—a faint curve of the lips, a movement barely noticeable. But the sound of his voice deepened as he continued.

    “I sound like everything that has brought you here. The roads. The nights. The breath you take in this moment.”

    He continued, “We are all part of the same sound. If you listen closely, you’ll hear it. From the beginning, there was sound, and we continue to resonate with that prime vibration. But you know this.”

    Haku felt the words ripple through him, sinking into the quiet space within his mind. There was no rush to understand them. They simply settled.

    “The sound that brought everything into being,” the monk continued, his voice flowing like water over stones, “it’s still here. It never stopped. We are living in it. Breathing in it. You, me, the trees, the wind—each of us carries that same resonance. Every breath, every step, every movement is connected to that vibration.”

    Haku could almost hear it now—not in any specific noise, but in the way the world hummed just beneath the surface – a presence that felt like it had always been there, waiting to be noticed.

    “And you,” the monk said, his voice clear and resonant, “as a composer, as a musician—you are more connected to that sound than most. A musician isn’t just someone who hears the world differently. You are a sculptor of sound. You shape it, form it, carve it from that first vibration. Every note you place, every melody you create, it comes from that source.”

    Haku felt something stir inside him. The monk’s eyes were still closed, but the sound of his voice filled the space between them, as though that was all that mattered—the resonance, not the sight. Haku hadn’t thought of music like this before, but the idea settled into his mind easily, like something he had always known but forgotten.

    “Music,” the monk continued, “isn’t separate from the world. It’s not something we make. It’s something we reveal.

    Haku closed his eyes, letting the quietness of the moment expand around him. There were no lessons here, no epiphanies, just a feeling of alignment, a quiet knowing that stretched beyond words.

    The monk’s voice returned, softer still, as if the sound was part of the air now.

    “We are all part of the same sound. If you listen closely, you’ll hear it. From that first sound, everything else follows. But you know this.”

    The quiet deepened, and for the first time in years, Haku felt still. He didn’t need to understand it, didn’t need to search for an answer. There was no knot to unravel, no tension to release. The sound was there, all around him, within him, waiting to be sculpted again.

    And for now, that was enough.


    Sculpting the Sound

    On the way back to the car Haku crouched by a stream and dipped his hand in the cool water. Something ancient stirred inside him now—something that wasn’t reflection or thought. It was a pull, a feeling of momentum, as though the stillness around him had been waiting for this moment.

    He listened, really listened, to the stream, moving over stones and roots. It carried a note—a simple one, but with a tone that shifted as the current changed. It was quiet at first, but as he focused, it seemed to grow, like a melody trying to find its way into the world. It didn’t just flow—it sang.

    Haku found himself humming in response, letting his voice match the pitch of the water, not fully conscious of it at first. It was instinct, more than anything. His breath aligned with the rhythm of the stream, each hum blending into the sound, rising and falling as the water did. It wasn’t music—not in the structured, composed sense. But it was a conversation. A call and response, pulled from the world around him.

    He removed his boots and stood, feeling the earth steady beneath his feet, and began to move—not with any particular destination in mind, but with a sense of connection. His toes pressed against the soft ground, marking a tempo. As he walked, he let his voice fill the space between his breaths, drawing out the low notes, harmonizing with the sound of the stream. It felt raw, unformed, and alive.

    Each sound he made resonated, not just with the water but with the air itself, as though the vibrations of the world were catching in his chest, his throat, spilling out in the form of melody. He wasn’t composing in the way he once had, at a piano, with sheets of music. He was shaping sound, pulling it from the air, sculpting it in the moment.

    A long, sustained note left his lips, and for a brief second, he imagined he could hear it vibrate, not just in the space around him, but deep within. There was no need for words. The sound carried all the weight, all the meaning. His voice, the stream, the ground beneath his feet—all of it connected, like he was conducting an unseen orchestra, one that had always been playing, waiting for him to join.

    Haku lifted his arms, not as an intention to control, but as a gesture of acknowledgment. The sound responded. He felt the vibrations traveling through his fingers, through his body, as though the prime sound the monk had spoken of—the first vibration that shaped everything—was resonating with him, through him.

    He began to sing with more intent, drawing out notes that felt old and familiar, even though they hadn’t existed until now. His voice layered over the sound of the stream, weaving in and out of the natural rhythm. His melody became the water’s melody, the ground’s melody, the air’s melody. Everything was tied together, an improvised composition in the most natural sense.

    He wasn’t thinking of structure or form, or even where the notes would lead. There was no end goal, no audience. Just sound and breath. His voice rose, stronger now, not out of force but out of alignment. He traced the sounds as they moved through him, his body feeling less like a conductor and more like an instrument.

    He spun and jumped and flung his arms through the air as though guiding the sound itself, shaping it, giving it form for a fleeting moment. He moved between the trees, his feet light on the earth, his body caught in the flow of something much larger than himself. The forest had become his stage, the sound his medium. The prime vibration he had always known was suddenly present, tangible, vibrating not just through the world but through him.

    He let out one final note, allowing it to stretch into the air. It hung there, sustained, before finally fading into the soft echo of the stream. The music, if it could be called that, dissolved as naturally as it had appeared, leaving nothing but the hum of the world, the quiet undercurrent that had been there all along.

    As the sound faded, Haku caught his breath, feeling the air settle around him. The composition was gone, but not in a way that left emptiness. It wasn’t something to be held or captured. It wasn’t permanent.

    In that moment, he understood.

    Everything he had ever known, everything he had ever composed, was part of this same impermanence. The sound had never been his to keep. It had always been a part of the larger vibration, the one that shaped the world, that shaped him. The monk’s words echoed back to him now: From the beginning, there was sound, and we continue to resonate with that prime vibration.

    The universe, the world, his life—it was all impermanent, a fleeting resonance of that first sound. Every note, every moment, was part of something larger, something that could never be captured or held. It would always fade, dissolve into the background, but it would never truly be gone. It was part of the cycle, the rhythm of existence.

    He exhaled, feeling a lightness settle into him. There was no need to hold on to the sound. No need to grasp for permanence. The music, like everything else, would come and go. And that was its beauty.

    For now, Haku was content to be a part of it, to resonate with the world in this moment, knowing that it would all fade in time.


    The Road Back

    The forest shrank into the distance as Haku drove away. The gravel path beneath his tires gave way to asphalt, the trees thinning until they were no more than a line of green on the horizon. The silence of the wilderness had been absolute, but now the low hum of the car’s engine slowly re-entered his world.

    For a while, he drove without thinking, his hands steady on the wheel, the road stretching out in front of him like a thread pulling him back to the life he had left behind. The open landscape felt expansive, the vastness of the sky above him reflected in the steady rhythm of the road beneath his tires. But there was no rush, no urgency. For once, the ticking of time didn’t feel like it was driving him.

    Haku’s mind was quiet—quieter than it had been in years. The echoes of the forest still clung to him, the memory of the sounds he had shaped, of the prime vibration that had resonated through his body and through the world. It wasn’t something he could hold onto; that much he understood now.

    The city loomed somewhere far ahead, but Haku couldn’t picture it the way he used to. The tall buildings, the relentless noise, the constant motion—they seemed distant now, less like the center of his existence and more like a distant echo. He had spent so many years trying to keep pace with it, to make his mark in a world that never stopped moving. But now, after everything, the thought of that rhythm felt… different.

    Would he return to that life? The one filled with deadlines and pressure, the constant hum of the city’s noise wrapping around him like a cocoon? Or would he leave it behind, choosing instead the quiet countryside, where the sound of the stream and the forest could carry him into a different kind of existence?

    He didn’t know.

    The road ahead was clear, and with it, the possibilities stretched out in front of him. He could picture both paths—the pull of the city, the challenge of creating music within its walls, and the peace of the countryside, where sound was shaped by nature rather than machines.

    He wasn’t sure what he wanted. In the past, it had always felt like a binary choice—one life or the other. But now, after his experience in the forest, he wondered if there might be something in between. A way to live in the city without losing himself to its noise. A way to carry the prime vibration within him, no matter where he was.

    As the city drew nearer, its faint outlines visible on the horizon, Haku turned down the volume on the radio. He hadn’t even noticed it was on, the sound so familiar it had blended into the background. But now, even the slightest hum felt intrusive.

    The sun was beginning to set, casting a warm glow across the road. Haku rolled down the window, letting the evening air fill the car. The sound of the wind, the monotone murmur of the highway, even the rumble of the engine beneath him—all of it blended into a new kind of harmony. It wasn’t the overwhelming noise of the city, nor was it the pure quiet of the forest. It was something in between. Perhaps something he could live with.

    He drove on, the city growing larger but still distant enough to feel unreal. As he approached, he felt the tug of both worlds—the quiet he had found in the forest and the life he had built in the city. The future stretched before him, uncertain and unwritten, but somehow that felt right.

    Haku didn’t need to decide today. The sound would guide him, the way it always had.

    For now, he just kept driving.

  • Composer As Communicator & Explorer

    Composer As Communicator & Explorer

    “It should be noted here that proficiency in composition occasionally correlates with maladjustment to the culture and is often associated with religions activity.”

    Music in Primitive Culture by Bruno Nettl, 1956, pg. 11

    When I read that quote, I felt it resonate with me. Not that I’m all that “maladjusted” but that often times composers are a bit strange. Nettl goes on to say, “musical and religious specialization are often correlated, and are probably the two activities of primitive life in which specialization most commonly occurs.” I’d say that this quality is not only present in “primitive life.” I believe composers are usually tapping into the “religious” or spiritual essence of humanity. In particular, the music creators that dig deep into the human experience and hone their expression of it over decades can rattle us to our most primitive core.

    When composers write music that resonates – literally resonates – with a listener both the composer and the listener are exploring pieces of the human puzzle. The composer did the work of crafting intuition and expression into sound and the listener unpacks that work allowing it to dust off and expose emotions, dreams, memories, internal rhythms, and bring them to the surface for a span of time. Clearly not every composition evokes the same reactions, but a successful composition is one that communicates across time and space with the listener in perhaps the most intimate way possible. Think about it, music is how mothers initially communicate with their children. Rhythm and melody are picked up in the womb. So, a person opening themselves up to be communicated with is the repository of great music.

    In my experience, the intention of the composer matters. I think this is because it can sharpen the listener’s reaction to the music. Even if the listener learns about the intention after hearing the music, we can retroactively place different meaning and importance on the music and experience. “Hey, how was the concert last night?” “It was fine, there were some good parts, but they didn’t play my favorite piece.” A few days later. “That concert was incredible, I just learned that the last song they played was written for the singer’s mother who is battling cancer, and she was in the audience.”

    I’m not implying every type of music or every piece of music has to have a grandiose manifesto in order to communicate something, but every piece does have an intention – even if that intention is to create music for music’s sake. I also think this is where music and the domain of spirituality and religion mix to become one in the same. Spiritual and religious music has very clear intentions that can’t really be separated out. For example, a healing song when not sung would not do much healing. The intention of a shaman or healer is in the music. It’s the belief that the healer holds in the power of a healing song that can’t be separated from the music. I imagine if you asked a healer if just saying the text (if there is a text) will have the same effect as singing, they’d reply with a resounding “no.” It’s like asking some cultures the difference between music and dance, they’d look at you in a puzzled way and wonder what you are talking about. See my article on Music and Movement: Music Has Lost: Movement, Participation, & the Universe – Global Music Theory

    So far, the composer has been a communicator with human’s most powerful form of communication – sound. Music can make us weep, rage, and transcend. It can pull us into another world in the matter of a few seconds. Furthermore, we are constantly affected by sounds and can’t readily tune them out just by closing our ears. But I also see composers as explorers of sound. They investigate all the wonderful ways in which to manipulate sound, and what effects that may have on listeners – on communication. They explore the shape of sound over time through form and also the sounds in a single moment – the vertical and horizontal qualities of sound.

    Composers explore the relationship between music and all the other activities that make up our lives, from shopping to worshipping to healing to love making music surrounds us. Not only are composers exploring the sonic qualities of music, but they also explore the inner realm of humanity. The moods, emotions, feelings, curiosities, and the physical can all be explored through sound. Composers explore within themselves to discover ways to express what they find via music. From a feeling of elation to the pits of despair and everything in between.

    I feel composers are also explorers of their times and environments. They write music that speaks to the moment for a subset of people. Even though the styles and methods of producing music are continually changing, composers are also exploring how previous styles and techniques feel in the current time. For example, composers bring back the intricate counterpoint of the Baroque period or the lush harmonies of the Romantics and see if those techniques capture the mood and desires of contemporary listeners.

    I used to question whether composing music is a worthwhile endeavor. What am I going to say better than all the music that has come before me? Well, I’ve learned that is the wrong question. I think writing music is about finding what is important for you to express because you are not the only one that needs to get that emotion or thought out. A composer is a bit like that kid who raises their hand and asks a question of the teacher that half the class also wanted to ask but didn’t. A simple way to see that music matters is to read the comments below your favorite music on YouTube and you will undoubtedly see how many people that piece of music has touched in a positive way.

    I guess this writing is really about why composers writing new music matters. They are exploring human connections.

    I just now learning to connect more with myself when I write and to simply allow myself to enjoy what I write rather than overthink and complicate it just for the sake of complication.

    Here is one of my piano pieces. I hope it communicates something of value.

  • What’s the point of music analysis? Grandiose Idea

    What’s the point of doing music analysis? What does it matter that I can connect a thematic idea across the movements of Beethoven’s 9th Symphony? Or discuss the formal organization used in music for Thai royalty? The theory started to feel so specialized that the analysis I did couldn’t see the forest from the trees. 

    Toward the end of my bachelor’s in Music Theory and Composition and into my master’s work, I struggled to see any value in high-level analysis. Years later, I’ve come to a better understanding when it comes to these heretical thoughts. I’ve come to revalue music analysis.

    The value of music analysis is in the systematic exploration of understanding sounds and how their organization connects human expression with experience and the universe. Analysis can be narrow and confined to academic cloisters. Or it can be work that strives to uncover humanity’s most profound experiences across time and space.

    In this article, I’ll talk about the cosmic, small-scale, and personal reasons that have convinced me spending time trying to understand musical vibrations is a worthwhile endeavor. 

    Big Picture Music Analysis

    If string theory is even close to an accurate view of our universe, then music is the human exploration of shaping the building blocks of our world! Analysis uncovers the whys and hows of music. When we hear a great piece of music, we want to know why it was so effective and how did the composer/artist create it? On the flip side, when we hear less successful music, can we identify why?

    Analysis comes in many shapes and forms. Some analysis is written in formal academic journals, but more commonly we all analyze music/sound in real-time aural analysis. In a way, music is under constant analysis that then leads to changes in the music (musical evolution). There’s the group-level analysis that, on the surface, is as simple as do people want to listen? If they want to listen, it will shape the music going forward. It could be argued that music that resonates with people rises up while other sounds fall out of favor. Thank goodness not all people enjoy the exact same music, but there’re trends in the evolution of music on a global scale. For example, at a very high level, humans prefer consonance to dissonance. 

    Analysis seeks to understand the similarities and differences in music across cultures and time. Analysis allows us to reveal underlying universals that connect all people as well as distinct characteristics that make music unique. Why are certain intervals so prevalent? Why do “sad” songs have similar phrasing across time and geography? Why is the pentatonic scale everywhere?

    In this big-picture view, music analysis, whether formal or not, strives to make sense of the innate human propensity to create and enjoy music and how that relates to the universe we find ourselves in.

    Small Picture Music Analysis

    This is the analysis of the notes, phrases, form, instrumentation, pieces, etc. This is the work to understand a piece of music, the composer, and how it all fits in with time, culture, and history. In essence, analysis at this level attempts to dissect the output of some of humanity’s most brilliant minds. How were they able to manipulate sounds in such effective ways? Analysis helps answer how composers thread a musical message that resonates with their world. Whether music theorists look at the Western tradition – classical, folk, pop, etc. – or any of the incredible works from around the world, they are putting the puzzle together of how composers use music to communicate their most private feelings, oneness with nature, religious devotion, and everything in between. Analysis is the art and quasi-science of understanding these powerful expressions.

    This level of analysis uses many methods. Here are a few:

    • visual diagrams
    • digital recording and spectrum analysis
    • roman numerals
    • set theory
    • form
    • melodic phrasal analysis
    • ideas and methods from:
      • linguistics
      • geometry
      • physics
      • economics
      • anthropology
      • psychology
      • neuroscience
    • AI and machine learning for large-scale analysis

    I think music theorists can deploy so many different techniques in the quest for understanding in part because music touches so many aspects of our world. From the physics of sound waves themselves to the psychological and physiological effects of those sound waves to the elements of culture (languages, beliefs, etc.) that brought the music about, it’s in pretty much everything!

    Why Not Music Analysis?

    We all have to do something to get by in this world, so why not music analysis? I’ve worked many jobs – ice cream scooper, barista, front desk clerk, a model for artists, house flipper, importer/exporter, digital marketer, project manager, music theory teacher, and others I’ve forgotten or would rather not put in writing! It wasn’t until my mid-thirties and my first “real professional job” that I realized playing, writing, and thinking about music is just as valid as other ways of making a living. In fact, given the reasons above, I believe it’s a life well spent working in music. But what about music analysis in particular?

    Music analysis is the cartographer to compositions’ explorations. Listening to music is the first point of communication, but analysis provides another angle in which to express musical ideas and communicate them with others.

    On a personal note, why did it take me so long to learn that the quest to understand music is worthwhile? It seems obvious in retrospect that a life of musical investigation is a fulfilling one, but there were a few things that got in my way of believing that. 

    1. In my family, music was/is not really a profession. On top of that, where I grew up, the only professional musicians were high school and middle school teachers. The only music role models I had were on the radio and in my CD collection. 
    2. After playing in a rock band for about a decade, I realized how difficult making a living would be. In tandem with the money aspect, I realized how difficult it was to fill a venue. I saw bands that, from my point of view, had “made it.” But even these bands were struggling to make ends meet and to fill small venues. In addition to those issues in the pop music world, I saw my music professors struggling to make ends meet – at least one working a second job as a bartender – or get pieces performed. Graduating college with no music prospects made it somewhat easy to give up on the dream.
    3. At various points during that period, I got in my head about the value of music. I wasn’t saving lives, right? (wrong wrong wrong!)

    I finally realized three critical aspects about music and myself that led me to believe in a life of music. The three things I learned were:

    1. Music does save lives!
    2. Playing, thinking, creating, and analyzing music brings me satisfaction!
    3. There’re many jobs out there that might have higher status and pay in our society, but that doesn’t mean those professions are more valuable.

    Music saves lives

    I’m sure you’ve had moments when music sent tremors through your bones and helped you in one way or another. Something that really brought home the power of music to literally save lives was reading the comments on Youtube. It may be an unlikely place to rediscover the power of music but reading some of the comments clearly shows that music saves countless lives!

    I believe music analysis contributes to the overall musical efforts that help people. With more understanding of how and why music affects people, we can continue to develop and harness the healing powers of music and sound.

    Working in music brings deep satisfaction

    I can’t speak to other cultures, but in much of American culture there’s this value placed on “being busy.” Returning to the US after living abroad for over a decade, the pressure to go do things and be busy was far more apparent. When the weekend hit, there was this internal chatter that said, “maybe I should be out.” But every time I just played songs with my wife or with my kids it quickly became clear I didn’t need to go anywhere! Even writing about music did the trick. I didn’t need a distraction, what I needed was to connect with those in my life and myself through music. Coming to revalue playing, creating, and thinking about music as a source of pleasure has opened up many avenues of satisfaction. Music analysis is a part of that satisfaction.

    What do music analysts do? 

    Music analysts investigate music as one of the ways humans are working at understanding the deepest and most intangible parts of humanity as well as contribute to furthering the project of creating music and musical conversations across cultures, languages, and time.

  • Music Has Lost: Movement, Participation, & the Universe

    Music, right along with everything else, has changed. Not a revolutionary sentence but here are three major ways music has changed over the centuries (millennia). I’m not talking about the surface layers of music – pitches, rhythm, instruments, etc. – but, three of the deepest attributes of music. (1)The connection between music and movement, (2)mass participation in performing music, and (3)the connection of the universe with music.

    Separately, these three elements are powerful and still found in varying degrees of use throughout the world, but when combined together music becomes a life-changing force – if you’re reading this, that’s something you’ve probably personally experienced.

    The uncoupling of movement and music

    The uncoupling of dance and music has occurred most obviously in the West and “developed” nations – but to some degree all over the world. This once ubiquitous pairing has undergone a drawn-out divorce where audiences sit still and applause is about as much dancing as you get. At this point, we have dance specialists and musicians and they’re not one and the same. 

    Moving our bodies is one dimension in which we experience music and in many ways, culture has tamped this hard-wired impulse down. Sitting still or just toe-tapping goes against the natural instinct to move to a beat. According to research out of Finland, a good beat sends blood to our legs and changes our heart rate and breathing patterns to sync with the music! Participants were also sent into an fMRI machine and happy dance music was played. Researchers found a connection between the auditory cortex to the motor cortex in the brain. Humans are meant to move to music!

    How each of us moves to music is not uniform. In fact, more Finish researchers determined the way you move to music is as distinct as your fingerprint. Some of us only bob our heads or tap a foot but we do feel that urge to move. Some of us dance in appropriate venues and some people dance in “inappropriate” places (is there really an inappropriate place to dance?). For some, letting the music move their bodies is as natural as…well as natural as dance is in humans. But for so many people (myself included) moving to music is a foreign concept that was only acted upon when they were young…like really young. I grew up in the United States and I feel like kids stopped moving to music by the age of seven or eight. I had elementary school dances where all my fellow students stood petrified and watched a brave soul or two try to shimmy to the blown-out speakers of some poor DJ. But I digress.

    Why is moving to music so scary in some cultures and so commonplace in others? In the West, we have almost completely separated music from dance. At some point, there grew two classes of people – spectators and performers. Kids who happened to have practiced dance might “bust a move” in front of the school at the talent show, but everybody else is in their seats (I’ll deal with participation below). We’re told to sit still. We feel self-conscious at an absurdly young age and don’t want people to ridicule us. I love seeing people dance and I’m envious of how they let the music take over their bodies. I assume you allow yourself the pleasure of “pure music take over” from time to time, but, if you’re like me, it’s a distinct conscious and deliberate action. In his book The Musical Human, Michael Spitzer imagines a dialogue between the West and the Venda (from South Africa) that exemplifies what I trying to say:

    “The West: music is a well-defined, separate artistic activity.

    The Venda: music is inseparable from singing and dancing!”

    A language that doesn’t separate words for dance and music has actually clued into what is the true connections in our brains! A lesson to myself: just get out of the way and let the music move you.

    The death of participation

    “I don’t play music.” “The only instrument I play is the radio (Spotify).” “I took lessons when I was a kid but I don’t play anymore.” All these are common enough statements that I’m sure most people have either heard or uttered themselves. “What’s so wrong with that?” you may wonder. “Wrong” may be the wrong word but as far as the human experience, it’s a newer trend. Still today, in some cultures, the idea that someone doesn’t play music is absurd. So absurd they may not even know what you mean. To people in these musical cultures, everyone can and does participate in music. Once again the dialogue between the West and Venda is useful here:

    “The West: music is a rare talent, tapering into still rarer genius.

    The Venda: everyone is musical.

    The West: music is enjoyed through passive listening.

    The Venda: it is the norm to participate in music, with no distinction made between performer and audience!

    The West: the goal of a performance is technical and artistic perfection.

    The Venda: the goal is not self-display, but social harmony and well-being!

    The West: music is separate from everyday life.

    The Venda: music is embedded in life!”

    Many of the world’s cultures are not like the Venda and have totally embraced the musician as a specialist as the norm. That means that people are on a stage performing while an audience observes. There’s a distinct line that the audience doesn’t cross.

    As I mentioned above about the elementary talent show, at a tender age children are taught to sit and observe while a select few perform. When you grow up in this type of culture, it all seems very normal. But I think participation has been eroding away at an increasing rate primarily due to technology. Why should I listen to my uncle sing when I have on-demand access to an infinite library of superior singers? I’d like to point out, that at most times and places during the existence of humans there have been individuals who are more adept at music-making than others. I’m not making an argument that everybody has the same musical talent or inclination. This is about the slow removal of amateurs performing music from the majority of people’s lives.

    Music used to occupy a special place in the home – especially before radios. Amateur musicians were the day-to-day entertainment and means of expression. In some places, music was the primary means of passing on stories and histories.

    I’m not sure when it happened but I’ve gotten in the habit of turning down very informal playing opportunities. It wasn’t until I re-realized the power of music that I re-embraced playing in “everyday” situations. Recently, my grandfather had a stroke. I made the trip to see him in the hospital. Luckily, he was able to recognize me and hold a conversation. My uncle had brought a guitar into the hospital room and I was asked to play something. Normally I would have balked and gotten out of it. I looked at my 92-year-old grandfather laying in the bed and I thought, “if not now, then when?” So, I did my best to play him a few songs and it was one of those moments where the power of music just shined like no other form of communication can. He could have cared less what I sounded like, it was the act of participating in music together that was important. I think the expectations (self)imposed on amateur musicians is that they sound like everything on the internet – which is pretty darn fantastic! 

    I love that in some of these participation-rich cultures they don’t really have the idea of singing “in tune” or “together”. I think the Venda concept of “the goal is not self-display, but social harmony and well-being!” is a fantastic way to realize music is a collective endeavor. Similarly, BaYaka Pygmies of Cameroon hold a “distributed sense of self, distinct from the individual, bounded self of the modern West.” Participants jump in and out when they please and start on whatever note or word they please. It’s a kind of free polyphony that gives everyone in the group license to just sing (and dance).

    All is not bleak for the future of amateur performance! There are still plenty of people who play music for themselves or at intimate gatherings (non-professional) and most importantly, technology that at one stroke aided in decreasing musical participation is at another stroke unleashing a torrent of musical creations in the form of digital content. I don’t think a Youtube video is a substitute for performing but it means that the power of music continues to blossom no matter the time or place.

    Music used to tune the universe

    The Ancient Egyptians thought the tuning of the lyre was tuning the universe. If a musician played an out-of-tune lyre the world would be thrown off course and the harvest was at stake! That’s some power attributed to music! How literal they took playing out of tune, I don’t know but they certainly took it seriously enough to write down detailed instructions for tuning. Many peoples from across the world and across time believed they were communicating with gods or spirits through music. This line of communication from gods to musicians and musicians back to the gods is one of the reasons music has a mystical quality to it. Musicians are commonly thought to be possessed by otherworldly powers when they perform or create. Music induces trance and access to “the other side”. Because music can align with the universe, creators, and mystical powers of a cultural belief it’s a way for humans to penetrate the physical surroundings and get a glimpse behind the curtain.

    Music is always on. We can’t turn it off any more than we can turn off our experiences. Likewise, the universe is always humming, sending vibrations through the atoms of our bodies. Music is the human project of controlling vibrations to elicit experience and understanding of everything greater than and connected to us.

    If string theory has elements of ground truth about the universe and the way it is constituted, then music truly is direct manipulation and connection with that vibrating universe.

    Maybe this is just a reminder to allow music to be that gateway to that which is bigger than you. Typically, music no longer communicates to the universe because we don’t perform or participate in music except in a more passive way. All is not lost! We can pull movement and participation back into our daily musical lives and let it breathe a connection back between us and the universe.