TANGIBLE MUSIC TANGIBLE 8 26 46 62 70
NOTES GESTURE MELODY
TIME SIGNATURE RHYTHM
HARMONY
Fretboard analysis The grid and structure Light, medium & bold alphabet Result Notes Gesture explorations
Color wavelength analysis Pitch frequency analysis Color & Sound combination Result Melody explorations
Time signature analysis Note value analysis (3/4, 4/4) The circle segments in 3/4, 4/4 Result Time signature explorations
Form the circle time signature The continuity of rhythm Result Rhythm explorations
Form the rectangle time signature explorations Form the rectangle rhythm explorations Form the melody Result Harmony theory explorations
ARTIST STATEMENT Even though the act of creating music is base on free will, emotions, sometimes even by chance, the system of music is on the other hand, is systematic, logical and base on a very complex format. Throughout my life music has always been a great companion. I’ve always have the natural instinct to view music as a tangible part of my life experience. The weight of the guitar on my shoulder, the stiffness of strings tingles the sensory receptors of my fingers. The vision of musical notes floats around the space while I’m playing. I find the urge to share this extraordinary experience with the aid of my graphic design knowledge. This project took it’s major spin off when I’ve first visited the Landscape of Bach’s Suite No. 1 in G Major, located in the Music Garden down at Harbor front. I was admired by the curves of the landscape, as it seems like the architects was trying to realize the story within the masterpiece of Bach’s with a tangible formations of pavement, rocks, and fresh flowers.
WING SUM LEUNG
8 26 46 62 70 77
TANGIBLE MUSIC
NOTES GESTURE MELODY TIME SIGNATURE RHYTHM HARMONY BIBLIOGRAPHY
Fretboard analysis The grid and structure Light, medium & bold alphabet Result Notes Gesture explorations
Color wavelength analysis Pitch frequency analysis Color & Sound combination Result Melody explorations
Time signature analysis Note value analysis (3/4, 4/4) The circle segments in 3/4, 4/4 Result Time signature explorations
Form the circle time signature The continuity of rhythm Result Rhythm explorations
Form the rectangle time signature explorations Form the rectangle rhythm explorations Form the melody Result Harmony theory explorations
NOTES E GESTURE NOTES 6
NOTES E GESTURE NOTES 7
8
NOTES GESTURE IN GRAPHIC DESIGN C
D
E
G
A
B
Every musical notes on the guitar is an direct response of a specific hand gesture. The notion of the connectivity between graphic design and my musical background inspired me in trying to create my own set of type face. A set of font that will embrace my fascinations towards music and at the same time convey the actions of how music is created through different finger movements.
F
Original chord positions.
FRETBOARD ANALYSIS A standard guitar is composed by six strings spread evenly on a fret board. Normally guitar chords are played within three frets.
B major chord position.
C
D
E
G
A
B
F
9
+
The grid structure of the letter from is designed base on a fret board grid. The dots indicate finger position of how each chords is created.
THE GRID & STRUCTURE The alphabet character width span not wider than three dots as normally guitar chords are played within three frets. The height of the letter will occupy the height of the fret board, based on the number of strings in a guitar.
Fretboard is used as a grid to construct the typeface.
10
NOTES GESTURE IN GRAPHIC DESIGN
11
The three versions of the fretboard type is created specifically to signify the strength of gesture and volume of sound.
12
FRETBOARD LIGHT ALPHABET
13
NOTES GESTURE IN GRAPHIC DESIGN
THE GRID & STRUCTURE
Subtle and soft.
14
FRETBOARD MEDIUM ALPHABET
15
NOTES GESTURE IN GRAPHIC DESIGN
THE GRID & STRUCTURE
Obvious and clear.
16
FRETBOARD BOLD ALPHABET
17
NOTES GESTURE IN GRAPHIC DESIGN
THE GRID & STRUCTURE
Exaggerate and loud.
NOTES GESTURE IN GRAPHIC DESIGN RESULT.
18
Every musical notes on the guitar is an direct response of a specific hand gesture. The notion of the connectivity between graphic design and my musical background inspired me in trying to create my own sets of type face. A set of font that will embrace my fascinations towards music and at the same time convey the actions of how music is created through different finger movements. The alphabet character width span not wider than three dots as normally guitar chords are played within three frets. The height of the letter will occupy the height of the fret board, based on the number of strings in a guitar.
19
Fretboard Medium
NOTES GESTURE IN GRAPHIC DESIGN
Alphabet:
RESULT.
20
C
Basic finger positions (Majors):
D
E
F
G
A
B Every musical notes on the guitar is an direct response of a specific hand gesture. The notion of the connectivity between graphic design and my musical background inspired me in trying to create my own sets of type face. A set of font that will embrace my fascinations towards music and at the same time convey the actions of how music is created through different finger movements. The alphabet character width span not wider than three dots as normally guitar chords are played within three frets. The height of the letter will occupy the height of the fret board, based on the number of strings in a guitar.
(Fretboard Thin)
(Fretboard Medium)
(Fretboard Bold)
21
22
EXPLORATIONS ITALICS & PUNCTUATIONS ITALICS
FRETBOARD ITALIC ANALYSIS
Fretboard italic medium.
C
D
E
G
A
B
Standard chords finger gesture.
F
23
PUNCTUATIONS
, . /
The reason of why both the italics and punctuations wasn’t developed further was because these explorations contradicted my idea of integrating proper hand gestures of musical notes into graphic design. The italic fonts introduces a new axis into the type face which alters the rigidity of the grid. It also forces the dots in touching the lines on the grid, signifying an incorrect finger movement which will cause an uncomfortable sibilated sound on a guitar. The punctuation was also an unsuccessful attempt. As the characters will either exceed the boundary of the grid, or fail to occupy the three dot spaces requirement.
DY MELODY DY MELODY DY MELODY 24
Y MELODY Y MELODY Y MELODY 25
26
MELODY IN GRAPHIC DESIGN
Both sound and color can be scientifically described by the same unit of Frequency: Hz. This section tries to apply the knowledge of scientific theory to graphic design by demonstrating the connectivity between sound and color visually and graphically. Allowing people develop a clear understanding between the two very different subject.
Frequency (hz) = Wave speed / Wavelength COLOR WAVELENGTH ANALYSIS
Nanometer
(nm) ? Nanometer is a very small unit of length in the metric system, equal to one billionth of a metre.
Frequency
(hz) ?
Frequency is the number of occurrences of a repeating event per unit time.
Wavelength
?
In physics, wavelength is a measurements distance between one peak of electromagnetic radiation waves from another. The different distance of wavelengths is what scientist used to tell each electromagnetic energy apart.
27
Note name Frequency
RED 781-622NM / 384-482HZ. ORANGE 622-597NM / 482-503HZ. YELLOW 597-577NM / 503-520HZ. GREEN 577-492NM / 520-610HZ. BLUE 492-455NM / 610-659HZ. VIOLET 455-390NM / 659-769HZ.
28
COLOR WAVELENGTH ANALYSIS Red wavelength
Red= 781-622nm.
Orange wavelength
Orange= 622-597nm.
Yellow wavelength
Yellow= 597-577nm.
29
Each color occupies a different sets of wavelength. The visible color red has the longest wavelength as it carries the least amount of energy and violet have the shortest wavelength as it carries the greatest amount of energy in all visible colors.
Green wavelength
Green= 577-492nm.
Blue wavelength
Blue= 492-455nm.
Violet wavelength
Violet+ 455-390nm.
30
PITCH FREQUENCY ANALYSIS
Sound waves is also a type of electromagnetic energy, therefore it could also be measured with frequency. Each distinctive notes have a different sound wave. By distinguishing the different frequency of each notes, we can make a direct relationship between sound and color
Frequency (hz) = Wave speed / Wavelength NOTES ANALYSIS
A#
B
C
C#
A
D
G#
D# G
F#
F
E
31
Note name Frequency
A 440HZ. B 494HZ. C 523HZ. D 584HZ. E 659HZ. F 699HZ.
(( )) 440 A
G 784HZ.
Tuning Fork The frequency of notes according to the standard tuning fork. (e.g. The A tuning fork produces a frequency of 440, which signify the middle A on the piano.)
32
COLOR AND SOUND COMBINATION Color wavelength & frequency
781-622NM / 384-482HZ. 622-597NM / 482-503HZ. 597-577NM / 503-520HZ. 577-492NM / 520-610HZ. 492-455NM / 610-659HZ. 455-390NM / 659-769HZ.
33
Note name Frequency
Note name
A 440HZ.
A
B 494HZ.
B
C 523HZ.
C
D 584HZ.
D
E 659HZ.
E
F 699HZ.
F
G 784HZ.
G
34
COLOR AND SOUND COMBINATION
35
Combining the wavelength of sound a color together resulted in a graphically bold statement of musical movement.
MELODY IN GRAPHIC DESIGN
#1 RESULT.
36
Both sound and color can be scientifically described by the same unit of Frequency: Hertz (Hz). This poster attempt to apply the knowledge of scientific theory to graphic design by demonstrating the connectivity between sound and color visually and graphically. Hoping to develop a clear and visible understanding between the two very different subject through the usage of colors and form.
COLOR & SOUND AS FREQUENCY 482-503hz 610-659hz
503-520hz 659-769hz
494hz 699hz
523hz 784hz
584hz 880hz
All musical notes possess a distinctive sound wave. By distinguishing the different frequency of each notes, we can make a direct association between sound and color. The result of combining the two different subjects was magical. Not only it resembles the shape of a sound wave, but it also signify the idea of visualizing music by a graphical manner.
Frequency (hz) = Wave speed / Wavelength
440hz 659hz
A to High A notes sequence
384-482hz 520-610hz
Frequency of color
37
38
MELODY EXPLORATIONS
From the analysis result of color and sound waves, I have decided to take this notion of connectivity of music and graphic design to the next level, by creating a visual pattern base on something as simple as the basic melody of C Major.
NOTES ANALYSIS + COLOR
A#
B
C
C#
A
D
G#
D# G
F#
F
E
39
NOTES
CDE FGAB do re mi fa so la ti COLOR OF C MAJOR A
Ascending pattern of C major scale.
A
B
40
MELODY EXPLORATIONS Put it in a ascending sequence & repeat...
Ascending pattern of C major scale.
41
Put it in a descending sequence & repeat...
Spun off the analysis of color and sound waves, This takes the notion of connectivity of music and graphic design to the next level. Since there is a specific color associated with each musical notes. With the method of color association a visual pattern can be created base on something as simple as the basic melody of the C Major.
Descending pattern of C major scale.
By arranging the musical notes in a repetition of ascending and descending order, the pattern created off of a C Major can be visually attractive. The vibrancy and excitement of C Major is obvious when it is transformed into a pattern. The ascending and descending order of the C major is interestingly a reflection of each other, complementing each others existence.
MELODY IN GRAPHIC DESIGN
#2 RESULT.
42
A
B
Spun off the analysis of color and sound waves, This takes the notion of connectivity of music and graphic design to the next level. Since there is a specific color associated with each musical notes. With the method of color association a visual pattern can be created base on something as simple as the basic melody of the C Major.
A
C MAJOR SCALE ASCENDING PATTERN By arranging the musical notes in a repetition of ascending and descending order, the pattern created off of a C Major can be visually attractive. The vibrancy and excitement of C Major is obvious when it’s transformed into a pattern. The ascending and descending order of the C major is interestingly a reflection of each other. Complementing each others existence.
C MAJOR SCALE DESCENDING PATTERN A
A
B
43
TIME SIGNATUR TIME 44
TIME RE SIGNATU TIME 45
46
TIME SIGNATURE IN GRAPHIC DESIGN
Time is a key component of music. Melody is composed by a combination of notes and pauses within a given time frame. This section of my thesis tries to synthesize the notion of musical time signature in a visual manner, in order to fully understand the concept of music in relation to graphic design.
2/4, 4/4, 8/8 3/4, 6/8... A time signature tells you how the music is to be counted. It’s a visual representation of basic rhythmic values and music notation.
Time signatures on music score.
TIME SIGNATURE ANALYSIS
4/4
The top number of the time signature informs you how many beats is to be counted. For example a 4/4 will be counted as 1,2,3,4,1,2,3,4,. Whereas a 3/4 will be counted as 1,2,3,1,2,3,. The bottom number tells you what kind of musical note is to be regarded as a full note. For example in a 4/4 time signature, all the notes in each bar must add up to 4 quarter notes.
Four quarter notes per bar measurement
NOTE VALUE ANALYSIS (IN 4/4) X1
X 1/2
X 1/4
X 1/8
X 1/16
X 1/32
47
NOTE VALUE ANALYSIS (IN 3/4) X1
X 1/2
X 1/3
X 1/6
X 1/12
X 1/24
THE CIRCLE SEGMENT
I have chosen to dissect a circle in conjunction to each time signature in order to demonstrate the differences between them. I believe the uniformity and infinity of a circle best illustrates my purpose of time in music and graphic design.
48
CIRCLE SEGMENT IN 4/4
1
1/2
1/4
49
Separating the circles in equal portions according to the different type of musical notes.
1/8
1/16
1/32
50
CIRCLE SEGMENT IN 3/4
1
1/2
1
1/3
51
Separating the circles in equal portions according to the different type of musical notes.
1/6
1/12
1/24
Time is a key component of music. Melody is composed by a combination of notes and pauses within a given time frame. A time signature tells you how the music is to be counted. It’s a visual representation of basic rhythmic values and music notation. The top number of the time signature informs you how many beats is to be counted. A 4/4 will be counted as 1,2,3,4,1,2,3,4,. The bottom number tells you what kind of musical note is to be regarded as a full note. The circular shape was chosen to illustrate the uniformity and infinity of music and graphic design. The overlapping of the circle also suggest the continuity and sense of belonging of individual musical notes within a complete
4/4 Time Signature.
4/4
Time Signature
TIME SIGNATURE IN GRAPHIC DESIGN
#1 RESULT.
52
musical composition.
53
3/4
TIME SIGNATURE IN GRAPHIC DESIGN
Time is a key component of music. Melody is composed by a combination of notes and pauses within a given time frame. A time signature tells you how the music is to be counted. It’s a visual representation of basic rhythmic values and music notation. The top number of the time signature informs you how many beats is to be counted. A 3/4 will be counted as 1,2,3,1,2,3. The bottom number tells you what kind of musical note is to be regarded as a full note. The circular shape was chosen to illustrate the uniformity and infinity of music and graphic design. The overlapping of the circle also suggest the continuity and sense of belonging of individual musical notes within a complete musical composition.
3/4 Time Signature.
Time Signature
#2 RESULT.
54
55
56
TIME SIGNATURE EXPLORATIONS
Before a circular shape was chosen to use for my time signature exploration, I had also tried to dissect an rectangular shape. How ever the rigidity of the angular shape didn’t quite fit the concept of time, therefore it was disregarded after a few trials.
RECTANGLE IN 4/4
When the rectangle was separated, it seems like each segment has an identity of it’s own. Unlike the circular shape, each segment appears to belong to the unity of the initial circle.
SHAPE SEGMENT
Individual segment of the rectangular time signature analysis.
TYPOGRAPHY
By transferring the rectangular analysis of time signature into an typography exploration of space and size of each segment.
THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND THIRTY-SECONDTHIRTY-SECOND
SIXTEENTHSIXTEENTHSIXTEENTHSIXTEENTHSIXTEENTHSIXTEENTHSIXTEENTHSIXTEENTH SIXTEENTHSIXTEENTHSIXTEENTHSIXTEENTHSIXTEENTHSIXTEENTHSIXTEENTHSIXTEENTH
EIGHTHEIGHTHEIGHTHEIGHTHEIGHTHEIGHTHEIGHTHEIGHTH
QUARTER QUARTER QUARTER QUARTER
WHOLE HAL F 57
58
TIME SIGNATURE COLOR EXPLORATIONS
Different color was used for the time signature analysis, merely because I was unable to decide on what color to represent which time signature. At the end I find the color grey best suits my purpose of
the time signature analysis because of it’s fairness. The color grey is a neutral tone. A color without a complementary and associated meanings.
59
M RHYTHM M RHYTHM M RHYTHM 60
M RHYTHM M RHYTHM M RHYTHM 61
62
RHYTHM IN GRAPHIC DESIGN
Rhythm is what makes music move and flow. It is made up of sound and silences, put together to form a pattern. There pattern is then repeated to created rhythm. The key here is that rhythm “flows”. In this section I have try to visually create the fluidity of musical rhythm with simple graphics.
FROM THE CIRCLE TIME SIGNATURE (4/4)
1
1/2
1/4
1/8
1/16
1/32
I believe that rhythm corresponds to the time signature of any song. This direct relationship of the two inspired me to reuse the time signature’s explorations for this section. I have decided to take the circumference of the time signature circles to demonstrate the concept of the continuity and flow of rhythm.
Circle time signature in 4/4.
Circle rhythm system.
1
1/2
1/4
1/8
1/16
1/32
63
CONTINUITY OF RHYTHM (IN 4/4) 1/8
&
2
1
& 3
& &
4
Black
Grey
Four beats per bar
Signify the first note of the musical segment.
The grey color represents the beat following the initial note of the musical segment. The difference between the dark and light grey are the strength of the notes.
Rather in a shape of a circle, the rhythmic of a song is best illustrated in an continuous bar. The new shape that I have created still suggested the shape of an circle, but it’s allows each musical bar to flow after the next.
64
RHYTHM IN GRAPHIC DESIGN
VISIBLE RHYTHM
In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s death; the poet Ludwig Rellstab related the music to moonlight reflected from Switzerland’s Lake Lucerne. In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s death; the poet Ludwig Rellstab related the music to moonlight reflected from Switzerland’s Lake Lucerne.
WALKING BY MYSELF (TYPICAL BLUES RHYTHMS) BY GARY MOORE In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-yearold Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s.
VISIBLE RHYTHM
In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s death; the poet Ludwig Rellstab related the music to moonlight reflected from Switzerland’s Lake Lucerne. In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s death; the poet Ludwig Rellstab related the music to moonlight reflected from Switzerland’s Lake Lucerne.
WALKING BY MYSELF (TYPICAL BLUES RHYTHMS) BY GARY MOORE In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-yearold Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s.
ZOOM IN:
65
RESULT.
CIRCUMFERENCE TIME VALUE
1
1/8
1/2
1/16
1/4
1/32
* LEGATO= THREE NOTES IN A QUARTER NOTE TIME VALUE * BLACK BAR= A NEW FOUR BEATS COUNT
66
RHYTHM EXPLORATIONS COLOR
RECTANGLE
FROM THE RECTANGLE TIME SIGNATURE EXPLORATION
67
APPLY TO TWINKLE TWINKLE LITTLE STAR IN 4/4
I have also repeat the same rhythmic exercise with the rectangular time segment analysis. However the result was far less successful. It fails to provide the perception of fluidity graphically.
ARMONY H ARMONY H ARMONY H 68
HARMONY HARMONY HARMONY 69
70
HARMONY IN GRAPHIC DESIGN
Sonata FROM THE RECTANGLE TIME SIGNATURE EXPLORATION
FROM THE RECTANGLE RHYTHM EXPLORATION
Harmony is the simultaneous use of chords alongside with the main melodic of a song. Harmony is a serene relationship between musical notes. The gap between each harmonic notes played together is called an harmonic interval. For this section I have taken inspiration from all my previous explorations. As I believe harmony is the essence of all combined in one.
A sonata is a way of organizing a piece of played music. It usually follows the pattern of four distinct movements. With a lively opening, follows by a slow composition, then progress into a dance movement, and ends with something mellow. One of the most noticeable trait of the sonata is it’s technique of repetition. A set or a specific chords is repeated throughout all four movements of the song. Seems like the sonata is trying to tell a compelling story with it’s specific organization. I wanted to illustrated the idea of a sonata graphically by recording the time and space occupied by each music chords. Hoping to discover a interrelationship between music and graphic design.
71
FROM THE MELODY
A#
B
C
C#
A
D
G#
D# G
F#
F
E
IF TIME IS X, PITCH WOULD BE Y C D E F G A B 1 2 3 4 5 6 7 8 9 10 11
72
HARMONY IN GRAPHIC DESIGN
HARMONIZED REPETITION
In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s death; the poet Ludwig Rellstab related the music to moonlight reflected from Switzerland’s Lake Lucerne. In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s death; the poet Ludwig Rellstab related the music to moonlight reflected from Switzerland’s Lake Lucerne.
PIANO SONATA NO. 14 IN C# MINOR “MOONLIGHT” FIRST MOVEMENT BY LUDWIG VAN BEETHOVEN In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-yearold Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s.
APPEARANCE COUNT
UTILIZED CHORD
BAR SEGMENT (IN 4/4 TIME SIGNATURE) 1
1 1 4 12 1
C MAJOR C7 C DIMINISHED C DIMINISHED 7 C AUGMENTED
8 67 2 4 4
C# MAJOR C# MINOR C# 7 C# SUS4 C# 7 SUS4
3
D MAJOR
5 1 2
D# DIMINISHED D# DIMINISHED 7 D# MINOR 7-5
10 16 1 1
2
E MAJOR E MINOR E MINOR 6 E MINOR 7
F 7-5
2 2 28 4
F# 5 F# MAJOR F# MINOR F# DIMINISHED
2 4 6
G MAJOR G7 G DIMINISHED
8 18 8 6 2
G# MAJOR G# 7 G# 7-9 G# MINOR 7 G# SUS4
3 1 1 4 4
A MAJOR A5 A7 A 7-5 A DIMINISHED
10 6 4 2
B MAJOR B MINOR B7 B DIMINISHED
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
73
RESULT.
HARMONIZED REPETITION PIANO SONATA NO. 14 IN C# MINOR “MOONLIGHT” FIRST MOVEMENT BY LUDWIG VAN BEETHOVEN In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s
UTILIZED CHORD 37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
APPEARANCE COUNT
70
C MAJOR C7 C DIMINISHED C DIMINISHED 7 C AUGMENTED
1 1 4 12 1
C# MAJOR C# MINOR C# 7 C# SUS4 C# 7 SUS4
8 67 2 4 4
D MAJOR
3
D# DIMINISHED D# DIMINISHED 7 D# MINOR 7-5
5 1 2
E MAJOR E MINOR E MINOR 6 E MINOR 7
F 7-5
10 16 1 1
2
F# 5 F# MAJOR F# MINOR F# DIMINISHED
2 2 28 4
G MAJOR G7 G DIMINISHED
2 4 6
G# MAJOR G# 7 G# 7-9 G# MINOR 7 G# SUS4
8 18 8 6 2
A MAJOR A5 A7 A 7-5 A DIMINISHED
3 1 1 4 4
B MAJOR B MINOR B7 B DIMINISHED
10 6 4 2
In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s death; the poet Ludwig Rellstab related the music to moonlight reflected from Switzerland’s Lake Lucerne. In 1801, Beethoven wrote this sonata and dedicated it to his student, 17-year-old Countess Giulietta Guicciardi. It was said that Beethoven was in love with her. The sonata didn’t get its popular name until 1832, after Beethoven’s death; the poet Ludwig Rellstab related the music to moonlight reflected from Switzerland’s Lake Lucerne.
74
HARMONY THEORETIC EXPLORATION REPETITION
From the Fretboard medium, I have realize the potential and importance repetition. Repetition is one of the key component in music and in graphic design. Repetition breeds stability and comfort. It can also help establish relationship with it’s listener in music, or it’s viewer in graphic design.
Time signatures on music score.
REFERENCE TO THE THEME
COLOR & SOUND AS FREQUENCY Both sound and color can be scientifically described by the same unit of Frequency: Hertz (Hz). This poster attempt to apply the knowledge of scientific theory to graphic design by demonstrating the connectivity between sound and color visually and graphically. Hoping to develop a clear and visible understanding between the two very different subject through the usage of colors and form.
Frequency of color 384-482hz 520-610hz
482-503hz 610-659hz
503-520hz 659-769hz
A to High A notes sequence 440hz 659hz
494hz 699hz
523hz 784hz
584hz 880hz
Frequency (hz) = Wave speed / Wavelength
C MAJOR SCALE ASCENDING PATTERN A
All musical notes possess a distinctive sound wave. By distinguishing the different frequency of each notes, we can make a direct association between sound and color. The result of combining the two different subjects was magical. Not only it resembles the shape of a sound wave, but it also signify the idea of visualizing music by a graphical manner.
A
B
Spun off the analysis of color and sound waves, This takes the notion of connectivity of music and graphic design to the next level. Since there is a specific color associated with each musical notes. With the method of color association a visual pattern can be created base on something as simple as the basic melody of the C Major.
Theme is a recognizable material, upon which the composition is based on. In graphic design, the theme maybe reference through the usage of colors, type, texture and/or images. Within music, the theme maybe hinted through tempo, instrument choice, scale intensity and/or rhythmic repetition.
C MAJOR SCALE DESCENDING PATTERN A
By arranging the musical notes in a repetition of ascending and descending order, the pattern created off of a C Major can be visually attractive. The vibrancy and excitement of C Major is obvious when it’s transformed into a pattern. The ascending and descending order of the C major is interestingly a reflection of each other. Complementing each others existence.
A
B
A theme provides a coherence emotional feedback for either it’s listener or viewers. It also helps create an emotional connectivity with people.
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ECHO
Echo is a reflection of sound decreasing in intensity. Echo provides a lingering traces, enhancing the effect of the music. In graphic design echo could be illustrated through the repetitions of lines with different line weights, also enhancing the visual interests of any subject.
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