The Wisdom and Power of Music

That is what we are, waves, vibration, according to physics, without waves, nothing happens, through the vibration you were born and through the stimulus you grew, such a day for your father, he has fulfilled a task within the harmony of vibrations, and that vibration ends up in the sperm beating the flagellum inside your mother. Now i'ts your turn, but, even fulfilling this task, you can have one 'Kinder Surprise' or some countries say 'Surprise Egg Kinder Joy' or even, 'Kinder Egg, kinder Ovo', anyway, you never know what comes inside, but surely it is part of the harmony vibration, the dissonance between two bodies.

When the long apogiaturas in Mozart take time to solve, they cause happiness and stability to us, because we are bound to an order called harmony, that order is our guideline, our path, in which everything must be resolved, when not, the human mind completes the resolution in the subconscious, that's the case of the 'Major Seventh Chord" finalizations in Jazz, when two intersected fifths are forming an apogiatura chord that should resolve the steps of its tonal scale sensitivity, precisely in fundamental an octave above, but, doesn't, the human mind do the rest, as if the chord asked a question to the ear and the mind solved in silence. Realize that the fundamental has already sent the harmonic waves of resolution for your ears, harmonics: 2; 4; 8 &16.

Example of two intervals of 5th with intersection to finish a song:
C-G + E-B = C-E-G-B

'B' is the sensible of the scale of 'C' major, 'B' is the natural support of the scale, the natural long apogiatura present in all western tonal scales, except for the pentatonic scale, and should finish its function in 'C' note, thus respecting the harmony engineering, but we love to use the music architecture within the engineering, and not complete what is so obvious, this is the icing on the cake, get away from the obvious, but, we can only do this, knowing the rules to be able to cheat with authority.

The painter 'Toulouse Lautrec' once said that: "Harmony is organized freedom, it is the license for everything, absolutely everything."

The best example of a long apogiatura, is when you look at the score a note with an accident that doesn't have on the key signature, it is an altered note that irritates you, it can be a sharp, a flat or a synthetic natural sign ( ♮ ), it is good to note that the natural word for the musical note change is wrong and wrong for the centuries, for if I do, a new norm in the key signature, for example 'D major', means that notes 'F#' and 'C#' are the natural notes for this tonality, so if you say that this note came to be natural with the use of the symbol ♮, you are commenting an error, because such error was committed by observing the keyboard, whose white keys today , are considered natural, a string or a wind player since the eighteenth century, uses the concepts coming from the keyboard.
Human sight has disrupted the correct use of words. In music congresses in the USA and Europe I have already suggested this merely intellectual change, not that we should change the name of things, but, correctly teach for: Altered Natural Sign, Synthetic Natural Sign.

An easy example in C major: you read 'D#', who is just on his trampoline to jump into his round pool called 'E'. Then the altered notes on the 'Secondary Dominant Chords' do the same.
Imagine the adrenaline of a real jump from the trampoline, now imagine the nano adrenaline inside your mind when you hear that jump to the obvious rest on the 3rd of the major C chord that is 'E'. It's simple.

I extend Don Campbell's work not only to the Austrian 'Mozart', but also to the Italian 'Scarlatti', the German 'J.S. Bach 'and his son 'Johann Christian Bach' who, by the way, was the man who taught Mozart to use the long apogiaturas to create expectation in the melody, and not forget to the magnificent French 'Rameau'.