there are no false notes of course without a context in which they could be
false. in fact, in such a context notes would be actually false, and
therefore they would have a musical status. since that musical status would
be personifying a form a regularity, the note would in fact bear a
verifiable relation to its context, and therefore could not be a false note.
so false notes do not exist, unless they would be notes alone, outside of
any context of regularity, and as such they couldn't be false notes either,
because there wouldn't be a frame of reference to determine them as such.
so in short false notes do not exist. what does exist are (runs of) notes
that are played, performed, interpreted with insufficient articulation, both
in pitch and time. playing instruments that produce notes with fixed
pitches, like a piano, you would just be dealing with inarticulate timing.
on instruments without fixed pitches, like guitars and fretless basses, both
pitch and time would have to be ultimately express and explicit. they would
have to be verifiably regular. the complexity of the regularity would not be
an issue, as long as it would be verifiable.
so on a guitar, you could play a note on a third distance between b and c
for instance, which is generally interpreted to be a false, but only if
played without the required verifiable explicity. when playing such a note,
you would have to be able to sustain it indeafenately, to show that it was
meant to be that note and no other. when varying continuously, incrementing
or decrementing the pitch down to b or up to c, the course of the sound
would have to be somehow verifyable regular, for it to actually qualify as
music. when varying incontinuously, that is continuing with other notes,
that would not necessarily have to be "full" notes either, again some
verifiable form or regularity would have to be involved for it to qualify as
music.
in practice, playing music isn't a matter of playing the proper full notes
following a set of known or preferred scales, for as long as some form of
contextual regularity could be verified it would qualify as music. this
largely extends the number of possible musics indeafenitely. in fact you
could play any particular note in the midst of a musical context that it
would be clearly outside of, and create the required context that would
account for its presence afterwards, which would also make for "repair"
possibilities, for instance when improvising.
the abiltiy to play music this way is of course what sets aside pop music
from classical and jazz players. in pop music all notes and runs of notes
would have to be express, indeafenitely sustainable and beyond any possible
doubt as to what they are meant to be, and preferably outside of any "full"
scales as much as possible. playing as well as improvising pop music would
of course always be beyond the call of duty, depending on the form or even
the presence of the government or in fact any superior force that could
command such duties.
playing pop music is much like pronouncing the english language, which
doesn't know any mute vowels since these have all been removed from the
english language and spelling. you have to be very careful pronouncing the
Os, short Ahs and short Es, because every english vowel is completely
express and articulate. now you can of course safely use hey daddy-o i don't
wanna go down to the base, as long as it would be verifiably and completely
regular throughout the song. so listening to pop music will additionally
involve a master class lesson in the usually english language of the player,
which may come handy some day, but that may also irreparably impair your
chancis (chancess) of ever speaking in RP (received pronounciation) again,
particularly outside of the UK.
now even when remaining within the scales ot full notes and full beats it is
quite possible to be ultimately inarticulate, but then you would be so on
the logical rather than the physical musical level. a clear example of this
possibility would be tomaso albinoni, who composes such harmonic beauty in
the many short logical sections that make up his concerti, that you are
shure to have an orgasm with each end of it, but before they do he suddenly
stops and starts on a completely different tack, which is why I love
listening to him in perpetual agony, and not for instance the far less
physically exerting compositions of vivaldi. anyone with any information on
his colour politically?
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