Technical information

Then..in this homepage you are still welcome to read highlights about my music compositional technics, tendencys, (6 sections):

First, the quality:
I'm strongly confident about musical improvisation. Endless experiencing of tones and magical internal controlling as a result of that practise has always given wings to my musical quality. I'm more innovated by sensing magical light in music, than technic as inspiration. I see that it's possible to get innovated by motoric as joy, but first I see that it's evident to face sorrow, as also, psycological predecessor of laughter. For a person, it's noble to face one of the life- truths, sorrow blissfully; When this happens, my technic get it's roots little by little. When it is then just motoric dispelled out of the way of emotion, it's right technic in composition for me.
Second, the special system which I created for me:
I have created a special harmonic- melodic cromatic pulsative system, which has a tendency to various musical layers to brake to each others dynamic time, very carefully, systematically. In a way you hear the other pulse inside of the other which is a bit longer, and so on. These layers are cromatically in a pyramid- shape order so that it's evident that always one layer as a whole is stronger in expression, than the next subordinated to that. The length of their stay in my music- changes constantely. All this, is responsable of tension in music.It is meant that all this variation is very lyrical, and many times I use systematically very wavering musical structures, and also, long stable tones.This tendency is the base of my compositional technic. It allows me to use melody in my music, that can be timed into musical structure; however so that I can move melodies just like that into another context inside my system. If you compare this to normal tonalic scale, there's more constantly repeating tones,comparing to 7, I get about 10.
Third, new orchestration technics:
I have searhed preatty long well- sounding, porous, and clear technics for orchestra. Now, I have found out that pedal points, which are typical in my original system, allow me to sensitize myself to more mysteries in music. Those are sensitive colors, glissandis, leaking air and chinking sounds. These will build a sensitive musical mystery map. The other way of using pedal points for me is just concentrate to create wavering time with harmonies, or mix these two focus points. All this will lead me to consider that instruments have more spiritual affection. So in orchestra I'm moving closer to real way of emphazising this as an orchestral tendency. This means that the instruments just follow each other one by one, or variate little, as a consequense of one more instrument, and so on. This would be sensitive structure and the themes short, like really waves in eternity. But also this still systematic proceeding is a pulse, a total self-creating musical, sensitive pulse after another.This thinking has a link to my pulsative harmonic- melodic technic I have created.
Fourth,but not least, the total music form I'm aiming to:
Also, when I compose the mentioned spells, I try to breath this synthesis in music, (previous chapter) and create really tones, which have then meaning. Such musical form is finding tendencys. In a way all 3 earlier chapters already are fighting for the real right for musical form. As a start of all, I try to find room for justified harmony, whether it's a melody or just spiritual beauty in music. I fear that it is the reason to express strong dynamics always in a musical form, since, otherwise I can never be peaceful with lyrical material.
Recently, I've started to wish to build this stylistically so that the tendency to find such dynamics would be more real, like life, magic in life. This then would force me to express also the themes and colors that are much more blasphemous in order to see where they leed. Opera is a good way of finding this said reality, with clear emotion, which I aim to. Only some societys in the word offer the luxury these days for this natural life.The said blasphemous, and other forces, in a musical form, are connected to the most magical sensitiveness I can think of. This is in order to build musical dynamic dome from the beginning in music, rightly. The meaning of this tendency as a whole is to find time finally for sensitiveness, lyrical melody, that can waver in peace.

 

I do this, because the modern dodecafony just is trash.

 

Fifth, More accuration these days, having traversed through the Egypt, how it changed my total musical attitude in the form:

 

Often I aim to construct magnet 3-level field of the lyrical materials to gain trance to liberate myself into a full sensation even lyrically always in the end of the work, through the very named rhytmical materials as well-

 

it used to be playful stream of materials, more nostalgy, and playful erotics+nature's horror,

 

but is now aiming towards an incredible sensation in the Tutankhamun opera regarding the magnet lyrical materials as an incredible lamenting yet extreamely happy style, that culminating also taking into account the nature's horror and now more culminating rhytmicality in passion that ending to lamenting lyricality combined with extra sensible victorious turnable themes.

 

All it takes is to collect the magic from all over the world to create beautiful music, that's all I care about.

Exactly that kind of a mystery music inspires me about.

 

Mystically, you could say my technics in considered history begins through this kind of thinking:

 

Chapter for bringing a ferryboat in the God's domain, a mystical sailship spell nro: 99 from the Egyptian book of the Dead:

 

I

 

O ferryman, bring me this which was brought to Horus on account of his Eye and which was brought to Seth on account of his testicles; there leaps up the Eye of Horus which fell in the eastern side of the sky so that it may protect itself from Seth.

Oh Mahaf, as you are provided with life, awaken Iquen for me, for see, I have come.

Who are you who comes?

I am the beloved of my father, one who greatly loves his father, and I am he who awakens his sleeping father.

O Mahaf, as you are endowed with life, awaken Iqen for me, for see, I have come.

Do you say that you would cross to the eastern side of the sky? If you cross, what will you do?

I will raise up his head, I will lift up his brow, and he shall make a decree in your favor, and the decree which he shall make for you shall not perish nor become void in this land forever.

O Mahaf, as you are endowed with life, awaken Iquen for me, for see, I have come.

Why should I awaken Iqen for you?

That he may bring me the built-up boat of Khnum from the Lake of Feet.

But she is in pieces and stored in the dockyard.

Take her larboard side to fix it to the stern; take her starboard side and fix it to the brow.

But she has no blanks, she has no end-pieces, she has no rubbing-pieces, she has no oar-loops.

Her blanks are the drops of moisture which are on the lips of Babai; her oar-loops are the hands of Horus, who shall steer her to me.

O Mahaf, as you are endowed with life, awaken Iqen for me, for see, I have come.

Who will guard this boat?

Bring the tail of the Senemty-animal and put it in her stern; that will guard her.

O Mahaf, as you are endowed with life, awaken Iqen for me, for see, I have come.

Who will bring her to you and to me?

Bring her to me with the best of the gods and his offspring, namely Imsety, Hapy, Duamutef and Qebehsenuef; he will command her, the Tetwy-animal being placed at her brow, and he will steer her to the place where you are.

What is she?

She is the wings of the Tetwy-animal.

The weather is windy and she has no mast.

Bring this phallus of Babai which creates children and begets calves.

To what shall I make it fast?

To the thighs which open out the shanks.

What about her cable?

Bring this snake which is in the hand of Hemen.

Where shall I stow it?

You shall stow it in her bilge.

What about her sail?

It is the cloth which came out of Sutyu when Horus and the Ombite (male) kissed on New Year's Day.

What about the gunwales?

They are the sinews of Him whom all these fear.

Who is he whom all these fear?

It is he who lives in the night which precedes the New Year.

O Mahaf, as you are endowed with life, awaken Iqen for me, for see, I have come.

Who are you who comes?

I am a magician.

How have you come and how have you gone up?

I have gone up on this...

What have you done to her?

I have trodden on her back, I have guided her...aright.

What else have you done to her?

My right side was at her startboard, my front was towards her brow, my left side was at her starboard, my back was towards her stern.

What else have you done to her?

At night her bulls were slaugtered and her geese cut up.

Who stands on her?

Horus of the rulers.

Who takes her cordage?

The Foremost One, the Ruler, Baty.

What else have you done to her?

I went to Min of Coptos and Anubis the Commander of the Two Lands, and I found them celebrating their festivals and reaping their emmer in bundles of ears with their sicles between their thighs, from which you have made cakes. The god led me to the goddess who ascends, and the Lady of Pe led me to the Lady of Netjeru. Now as for the gods of Pe who are in front of their houses, I found them washing their head-cloths. They will come bearing the cakes of the gods, and they will make cakes for you when going downstream and bread when going upstream.

O Mahaf, as you are endowed with life, awaken Iqen for me, for see, I have come.

Who are you who comes?

I am a magician.

Are you complete?

I am complete.

Are you equipped?

I am equipped.

Have you healed the limbs?

I have healed the limbs.

What are those limbs, magician?

They are the arm and the leg.

Take care! Do you say that you would cross to the east side of the sky? If you cross, what will you do?

I will govern the towns, I will rule the villages, I will know the rich and give to the poor, I will prepare cakes for you when going downstream and bread when going upstream.

O Mahaf, as you are endowed with life, awaken Iqen for me, for see, I have come.

Do you know the road on which I must go, magician?

I know the road on which I must go.

Which is the road on which you must go?

It is 'Power of Earth', and I shall go to the Field of Reeds.

Who will guide you?

The Royal Twins will guide me.

Who will tell your name to this august god?

He who is content, the elder brother of Sokar. O Mahaf, as you are endowed with life, awaken Iqen for me, for see, I have come.

He does not wake for me.

You shall say: O Vulture-god who rebuilds a courtyard, I will break your box, I will smash your pens, I will tear up your books because of Him who is in Primordial Water. If I see, Shu will see; if I hear, Shu will hear, I will give orders to the Imperishable Stars, and it will be well with me on earth.

 

II

 

'What is it', says Iqen; 'I was asleep'.

O Iqen, as you are endowed with life, bring me this, for see, I have come.

Who are you who comes?

I am magician.

Are you complete?

I am complete.

Are you equipped?

I am equipped.

Have you taken care of the two limbs?

I have taken care of the two limbs.

What are the two limbs, magician?

They are the arm and the leg.

O Iqen, as you are endowed with life, bring me this, for see, I have come.

Have you power over what I have not brought to you, magician, that is to say this boat? She has no bailer.

Bring that...of Khnum through which I am made alive, and put it in her.

O Iqen, as you are endowed with life, bring me this, for see, I have come.

Have you power over what I have not brought to you, magician, that is to say this boat? She has no spars.

What is missing from her?

She has no beams, she has no rigging, she has no mooring-post, she has no wraps.

Go to that god who knows you and all that you would mention to him in respect of her spars, so that what he has given to me will come?

Who is that god who knows me and all that I would mention to him in respect of her spars, so that what he has given to me will come?

He is Horus with whom is a seal-ring.

O Iqen, as you are endowed with life, bring me this, for see, I have come.

Have you power over what I have not brought to you, magician, that is to say this boat? She has no cable.

Bring that snake which is in the hands of Hemen and of Anubis the Controller of the Two Lands, and put it in her, with its head in your hands and its tail in my hands, and we must pull it tight between us in it'sname of 'Pain' ...the waterways which are between those two cities, the river is in good order and the Lake of Offerings which connects with that river is in good order.

O Iqen, as you are endowed with life, bring me this, for see, I have come.

What are those two cities, magician?

They are the horizon and the malachite-region, or so I believe.

Do you know those two cities, magician?

I know them.

What are those two cities, magician?

They are the Duat and the Field of Reeds.

O Iqen, as you are endowed with life, bring me this, for see, I have come.

Have you power over what I have not brought to you, magician? That august god will say: 'Have you ferried over to me a man who does not know the number of his fingers?'

I know how to count my fingers; take one, take the second,quench it, remove it, give it to me, be friendly towrds me; do not let go of it; have no pity on it; make the Eye bright; give the Eye to me.

 

III

 

O you who bring the ferryboat of the Primordial Water to this difficult bank, bring me the ferryboat, make fast the warp for me in peace, in peace! Come, come; hurry, hurry, for I have come in order to see my father Osiris. O Lord of Red Cloth, who is mighty through you; O Lord of Storm, the Male who navigates; O You who navigate over this sandback of Apophis; O You who bind on heads and make necks firm when escaping from wounds; O You who are in charge of the mysterious ferryboat, who ward of Apophis; bring me the ferryboat, knot the warp for me, in order to escape from that evil land in which the stars fall upside down upon their faces and are unable to raise themselves up.

O Henswa who is the tonque of Re; O Inedebu who governs the Two Lands; O Mengeb their helmsman; O Power who reveals the solar disk, who is in charge of redness, fetch me, do not let me be boatless, for there comes a spirit, my brother, who will ferry me over to the place I know of.

'Tell me my name,' says the mooring-post.

'Lady of the Two Lands in the shrine' is your name.

'Tell me my name,' says the mallet.

'Shank of Apis' is your name.

'Tell me my name,' says the bow-warp.

'Lock of hair of the mooring post of Anubis in the craft of embalming' is your name.

'Tell me my name,' says the steering-post.
'Pillars of the God's Domain' is your name.

'Tell me my name', says the mast-step.

'Earth-god' is your name.

'Tell me my name', says the mast.

'He who brought back the Great Goddess after she had been far away' is your name.

'Tell me my name', say the halyards.
'Standard of Wepwawet', is your name.

'Tell me my name', says the mast-head.

'Throat of Imsety' is your name.

'Tell me my name', says the sail.

'Nut' is your name.

'Tell me my name', say the oar-loops.

'You have been made with the hide of the Mnevis-bull and the tendons of Seth' is your name.

'Tell me my name', say the oars.

'The fingers of Horus the Elder' are your names.

'Tell me my name,' says the bailer.

'The hands of Isis which swabs up the blood from the Eye of Horus' is your name.

Tell me my name,' say the ribs which are in her timbers.

'Imsety, Hapy, Duamutef and Qebehsenuef, Plunderer, He who takes by robbery, He who sees what he has brought, He who helps himself' are your names.

'Tell me my name,' says the hogging-beam.

'She who presides over gardens' is your name.

'Tell me my name,' says the rowing bench.

'Songstress' is your name.

'Tell me my name,' says the steering oar.

'Accurate' is your name. 'That which rises from the water, whose blade is limited in movement' is your name.

'Tell me my name,' says the boat.

'That leg of Isis which Re cut off with a knife in order to bring blood to the Night-bark' is your name.

'Tell me my name,' says the skipper.

'Rebuffer' is your name.

'Tell me my name,' says the wind, since you are carried thereby.'

'North wind which went forth from Atum to the nose of the foremost of the Westerners' is your name.

'Tell me my name,' says the river, since you ferry over me.¨

¨He who sees them¨ is your name.

¨Tell me my name,¨says the bank of the river.

¨Destroyer of those who stretch out the arm in the pure place¨, is your name.

¨Tell me my name,¨ says the ground, since you tread on me.

¨Nose of the sky which goes out from the Embalmer who is in the Field of Reeds, from which one goes out in joy¨ is your name.

What is to be said to them:

Hail to you,you whose natures are kind, possessors of offerings who live for ever and ever! I have penetrated to you so that you may give me a funeral meal for my mouth with which I speak, namely the cake which Isis baked in the presence of the Great God, for I know that Great God to whose nose you present provisions, whose name is Tjekem. He reveals himself in the eastern horizon of the sky, he travels in the western horizon of the sky. When he departs, I will depart; when he is hale, I will be hale. You shall not repel me from the Milky Way, and those who are rebellious will not have power over this flesh of mine. My bread is in Pe, my beer is in Dep, your gifts of today shall be given to me, and the gifts due to me are barley and emmer, the gifts due to me are myrrh and clothing, the gifts due to me are life, welfare and health, the gifts due to me are what are isuued by day in any shape in which I desire to go out to the Field of Reeds.

As for him who knows this chapter, he will go out into the Field of Rushes, and there will be given to him a cake, a jug of beer and a loaf from upon the altar of the Great God, an aurora of land with barley and emmer by the followers of Horus, who will reap them for him. He will consume this barley and emmer and will rub his body with them, his body will be like these gods, and he will go out into the Field of Reeds in any shape in which he desires to go out. A matter a million times true.

 

Another spell, very efficient in the tomb of the secret sailmanufacturesers being: The number 24 in the Egyptian book of the Dead.

Chapter for bringing magic to Ani

 

I am Atum-Khepri who came into being of himself upon the lap of his mother Nut, who gave jackals to those who are in the Primordial Waters and hunting-dogs to those who are in the tribunal. 

I have collected this magic in every place where it was, from the posession of anyone who posessed it, more speedily than a hound, more swiftly than a shadow. O you who bring the ferryboat of Re, strenghten your rope in the north wind. Ferry upstream to the Island of Fireto the realm of the dead, collect this magic  from whereever it may be, from the posession of anyone who may posess it, more speedily than a hound, more swiftly than a shadow. Transform yourself into a heron, the mother who cared you, the gods are hushed, your mother has made you warm for the gods.

 

Now there is given to me this magic, to whomsoever it may belong, more speedily than a hound, more swiltly than a shadow.

 

Jani Kääriä

 

LASTLY, HERE is given my latest outstanding compositional technics seek of qualities as follows:

A question. What should the newly composed music, or composition in process then be when not dodecafony?

Tonal. Glimmering way. So that harmony can reflect any reason of your personal afterlife, or a dreamlike world. Sometimes sound untonal, the complexity is allowed to an extreame point, multti-level harmony. Soon the tonal record must obtain.

In it's best the movement form is free, liberal, and there your own favourities work through. But as a whole, the tonal deliberation must count.

 

JANI the KÄÄRIÄ