As much as I fiddled around with various combinations of tones in groups of two and up to five, a straightforward auditory correlation to the familiar chromatic system refused to emerge, thereby demanding a much more organized, systematic investigation...
Activate quest for quantification!
But first, to take advantage of my "green perspective" on the situation, I attempted to create a good piece of meditation music based on a subjective, non-systematic approach. Not completely lacking structure, as I can hardly ignore two decades of musical conditioning, but without Solfeggio-specific mathematical advantage.
In consideration of the ultra-serious approach which I do profess not to have chosen, I thought that attempting a composition may seem like frivolity at this stage in the game - why not wait until the tones are properly understood before actuating them, rather than making an amateurish mess? Why would I let myself become the creator of a sonic dog's breakfast by putting the cart before the horse?
Because a fresh perspective has its advantages, that's why. Some of the best art is made by novices, in my opinion. An empty skill set is a true blank slate, allowing space for the intuition to roam unprejudiced by a conditioned intellect.
So, I went ahead and created a 21-minute piece of music called "Massive Solfeggio". I selectively avoided most of the tense combinations in attempt to provide what I hoped to be a gentle-but-giant meditative space. At the time of this writing* I, and a few sporadic volunteers, have taken the plunge into "Massive Solfeggio", with some quite positive results. Some have found it a bit too dramatic, others find it relaxing. I've enjoyed auming to it, and sometimes listen while writing or reading or doing some quasi-yoga or playing drums.
Drums and Solfeggio sound great together. However, I wouldn't necessarily recommend the didjeridoo in conjunction with the Solfeggio if you intend to reap the benefits of the (supposedly) pure, undisturbed mathematical resonance of the Solfeggio, because there is a high potential of harmonic conflict between the Solfeggio and any fixed-pitch instrument which is not specifically tuned to the Solfeggio. Auming, on the other hand, is not what I would refer to as a fixed pitch because the person singing has the ability to adjust the pitch of their voice so that it resonates in harmony or unison with the Solfeggio if they wish. The same goes for trombone and slide guitar, whereas instruments such as didjeridoos**, flutes, pianos, and marimbas have more stone-like tonal collections which are more likely to cause a chaotic structural collapse within the presumedly fussy, purist Solfeggio matrix.
On the other hand, in the interest of creative freedom and good ol' participatory involvement, don't let authours of books tell you what not to do.
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