25. Palmina inspires Palma with her Lute to compose first Fuga in history
„Love overcomes all problems and distances, all intrigues, all envy, all separation and all destroying forces.“
And after Palma was so lucky to hear her playing his Pipa solo Nr. 5, and after playing with her in their dreams the version for Pipa and Viola, here in their secret hour in their Peony Gondola, here at 23 o’clock/ 11.p.m., Palmina smiled tender to him.
She took again her Pipa-Lute and opened the music score of Pipa solo 4 ☳ and turned the pages till she found the King Fu Xi Melody – Melody.
Exactly this „King Fuxi 伏羲 Melody“ she played for him, for him to support his speech in the Venice – Titian – Art – Gallery.
Palmina played the „King Fuxi 伏羲 Melody“ *) on her Lute:
*) The Melody expresses the 8 Images after King Fuxi 伏羲 from »Early Heaven« Baguameaning, describing the cycle of a whole year:
☳ ☲ ☱ ☰ ☴ ☵ ☶ ☷
(Spring – Summer – Autumn – Winter)
The 8 Images melody is starting from early spring (first image ☳) till winter (last image ☷).
Palma looked surprised to her, hearing this short part of his composition Pipa solo 4 ☳.
Palmina smiled at Palma, he sweet and beautiful eyes asked him wordless:
„Can you transform for me this lovely Melody from the pentatonic scale into the heptatonic scale *) ?“. This she said with her warm, heart-full thoughts. (And this Palma could feel).
„Hm, transcribing a 5-scale to a 7-scale melody, this is sure the first time someone does this in the music history…hm?“
– „Yes, you are the first ever!“
Palma was thinking and trying to find a way to transcribe it.
„Yes, this melody starts at a basic scale note and then it goes his way and comes back to the basic scale step back like a cycle of the seasons, or the day, or a whole year… So this has also to happen if I transcribe it into the 7 scale. The Melody should come back to is basic start.“
*) heptatonic = 7 ton scale (s.a „diatonic scale“): c‘ – d‘ – e‘ – f‘ – g‘ – a‘ – h‘ (b‘)
do – re – mi – fa- so – la – si
Palmina saw that he needs help and she came slowly and gave him a kiss on his cheek, very, very tender and soft.
Palma smiled; she brought him into an inspiration with her deep love; he was in a vision and could see and hear the melody suddenly.
Palmina gave him so much power to write it down – Thank you Palmina!
He wrote the melody down and he played it on the little harpsichord, which was with them in their Peony Gondola; and he wrote the heptatonic version of the King Fuxi Melody:
VIDEO: [fugue theme, 1.Voice on harpsichord]
„And now…?“, Palma asked
„And now…!“, Palmina gave him a 2nd tender kiss on his other cheek.
Again this inspires him:
Palma smiled and felt again her positive heart to heart golden-light.
This gave him the creativity to write this new melody a fifth higher in addition to the 4 bars he wrote. So the 2nd cheek-kiss lifted the fugue-theme five tones higher…
He played it like that:
VIDEO [2.Voice of fugue theme]:
Palmina was very proud of Palma and said: „Now make a 2. voice to this King-Fuxi- -Melody, like you did it at the Pipa soli you composed for me so beautifully!“.
Palmina said so friendly to him.
She covered him with so much love, only with her smile and her warm sympathy, coming directly from her heart.
Palma wrote fast a second voice below the melody.
and he played this two voices now it for her on the harpsichord:
VIDEO: [Voice 1+2] https://youtu.be/18bGpYiL5tI
„Hen hao, zui hao de, very good!“, said Palmina very proud.
„And what happens if I would write a 3rd voice now, especially for you…?“, and he looked to hear in an asking way.
Palmina smiled a little bit shy. She understood him very well…
„Tèbié hao,…But, but only if you compose 2 bar – Interlude *) before that, hm? Can you promise me to compose it so?“, Palmina asked and looked into his eyes.
*) Interlude / Interludium: here a short part/ sequence of composed music between two parts, often used to connect it.
She gave him a 3rd kiss, much softer, and much tender then the other kisses before and full of heart, right on the other cheek.
Palma felt now like a „Super Composer!“
He suddenly was able to understand 3 voices polyphonic music thinking.
He wrote 2 additionally bars of a little Interlude and then…, and then he composed the 3rd voice as „Baß Fugue Theme“.
After he wrote it down he played the 3rd Baß voice of the fugue:
He used again the „fugue theme“, which was the King Fuxi Melody he transformed from pentatonic scale into heptatonic scale. The other two upper voices are now floating like water, are wings of angels beside the 3rd Voice.
„Let’s look how it is from the beginning.“, Palmina wanted to hear.
Palma started his little composition from the beginning and played for her:
*) „Fugue Exposition“ is the Initial part of the Fugue which introduces the „Fugue-Theme“ composed voice after Voice often as:
I – V – I – (V) …
Prim – Fifth – Prim – ( Fifth) etc…
„You composed it very well! I like it!“, Palmina said smiling.
„It is like an eternal dance of the spheres of the cosmos.
You composed a very modern fugue !!!
If composer Palestrina *) and the Venetian composer and music theoretician Gioseffo Zarlino **) would hear it, they will be amazed by your artwork!“, Palmina said lucky and wanted to jump, full of pure joy and kindness.
*) Palestrina (1525-1594) – Wikipedia https://en.wikipedia.org/wiki/Giovanni_Pierluigi_da_Palestrina
Giovanni Pierluigi da Palestrina (c. 1525 – 2 February 1594) was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition. He had a lasting influence on the development of church music, and his work has often been seen as the culmination of Renaissance polyphony.
**) Gioseffo Zarlino (1517 – 1590) – https://en.wikipedia.org/wiki/Gioseffo_Zarlino
Zarlino was born in Chioggia, near Venice.
Gioseffo Zarlino (31 January or 22 March 1517 – 4 February 1590) was an Italian music theorist and composer of the Renaissance. He was possibly the most famous European music theorist between Aristoxenus [*] and Rameau, and made a large contribution to the theory of counterpoint as well as to musical tuning.
[*] Aristoxenus: (375 – 335 BC) – Wikipedia – https://en.wikipedia.org/wiki/Aristoxenus
Aristoxenus of Tarentum (Greek: Ἀριστόξενος ὁ Ταραντίνος; b. c. 375, fl. 335 BCE) was a Greek Peripatetic philosopher, and a pupil of Aristotle. Most of his writings, which dealt with philosophy, ethics and music, have been lost, but one musical treatise, Elements of Harmony (Greek: Ἁρμονικῶν στοιχείων; Latin: Elementa harmonica), survives incomplete, as well as some fragments concerning rhythm and meter. The Elements is the chief source of our knowledge of ancient Greek music.
( list of works, see list below at ***)
„Oh no, don’t show them… It is a beginning… And it is for you, my little Pipa-Princess…
I love you so much. You are inspiring me so much. If I know you on my side I will paint and compose for my whole life and stay here in Venice with you. I am remembering our time here in Venice 400 years ago – Venice is our city of Art, Palmina. I love you!“, Palma said her as heart-to-heart message – but he was very shy.
Palmina was now his first love, a love which never hurts, a love of supporting each other, a deep old love of inner fidelity, solidarity and inspiration with a never ending dimension.
Palma is remembering the scene in the Chinese Chunk where Marco Polo and his innocent Chinese Princess made a love-fully music from heart-to-heart falling in eternal love.
„But your music is good! I love it! I like your creations very much…“, Palmina was sure.
And if she decides to find a creation good, it was her free will, and yes…, yes Palmina was a big music and art expert.
Palmina could understand music through her heart. This ability is so great. She also sees music quality with her pure heart. In thousand of years Palma will not find an equal soul like Palmina.
Since Palma met Palmina the best thing happened in Palma’s inner and outer life…
„Really, Palmina…? Really good, hm?“
„Yes“ – she smiled – „Maybe you invented, now, the first Fugue which is innovative…“ –
Palmina smiled and Palma knew that she could understand more things than others about art and music inspiration and: that she has a big intuition to the higher spheres of music.
„Play it again, Palma…“, she asked him. And Palma played it again…
And so he added now to this little fugue the theme in F-Major in his composition which is played:
VIDEO [fugue theme in F-major]:
…and he added 3 bars after it. Each one represents a sigh. („Three time sigh“ melodic motive)
Palma played it and outside, around their Golden Peony Gondola they saw lights coming like beautiful flames, decently dancing in the rhythm of the music, building a circle.
Later Palma composed the fugue theme also in minor…and also he wrote again the 3 „sigh“ bars which express his desire for his Albina – Palmina…
– Palma looked surprised, but Palmina seemed to know what is going on here at the clouds. (Both know the story of Dante and Beatrice in the III.part of the „La Divina Commedia“* )
Palma remembers: He could felt that also on that special day, in the moment he saw her first time with her lute: Palmina is a very talented, gifted and friendly being that Palma liked and loved since hundreds, thousands of years. And now she lead him to compose a fugue, which is in Italian called „fuga“. **
* „La Divina Commedia“, III.: describing the spiritual way of Dante guided Beatrice through the spears of the Planets – Wikipedia: https://en.wikipedia.org/wiki/Paradiso_(Dante)
„Paradiso (pronounced [paraˈdiːzo]; Italian for „Paradise“ or „Heaven“) is the third and final part of Dante’s Divine Comedy, following the Inferno and the Purgatorio. It is an allegory telling of Dante’s journey through Heaven, guided by Beatrice In the poem, Paradise […] is depicted as a series of concentric spheres surrounding the Earth, consisting of the
Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, the Primum Mobile and finally, the Empyrean.
It was written in the early 14th century. Allegorically, the poem represents the soul’s ascent to God.“
** Italian words are always used by all composers worldwide, independent from which culture a composer is coming from. Italian is the international language used for words to write in the music score since centuries: Allegro, Adagio, meno mosso, ritardando= „rit.“, pizzicato = „pizz.“, etc….
„And you are sure…I composed an innovative new Fuga a3?.. a fugue a tre for 3 independent voices…?“
„Yes, a fugue **) is a mystic imaginary dance of the spiritual energy or images. It is a symbol of the eternal cosmic principles and its eternal cyclic movements“, Palmina answered, „… A cosmic ballet – this type of composing will be popular in 100 year, and in 200 years after your birthday it will be a traditional composing form and every well educated musician will once knows this composition type of the „Fugue“, the „Fuga“ all over the world. It needs good composers and good musicians to understand this…“, Palmina said.
And Palmina plucked on her Chinese lute Pipa:
A – D – E – a
So Palma answered on his Viola and plucked:
c – g – d‘ – a‘
Then Palmina made a beautiful tremolo on her Pipa with her 5 Fingers of her right hand (it looks so magic) and then she repeated the King Fuxi Melody :
Palmina played the „King Fuxi 伏羲 Melody“ *) on her Lute:
„…Ah! I understand… I should compose the Fugue-Theme here as chinese/asian pentatonic in the middle-voice, right?…“
„YES! You are my great composer!“, Palmina said with her sweet voice which sounds like a beautifully singing Pipa.
She smiled and there was a pentatonic music secret in her eyes. ****)
A bright mystic light reflected in her eyes.
Now Palma wrote the Pentatonic Melody in F-Pentatonic, which Palmina played in D-Major (Pipa solo 4) on her wonderful Pipa so beautifully, now in F-Major between the highest and the lowest voice in his composition:
VIDEO: [pentatonic theme in F-major, hapsicord]:
After this he wrote, and wrote… and always the „3 sighs“ he composed as 3 bars in his composition…
VIDEO: [The 3 Sighs ] https://youtu.be/ZdyXA6nVkMk
At the end of the Fugue/ Fuga he composed a 5-bar „Coda“ with the fugue theme in the 1. Voice.
As he composed it and they tried these bars together playing the pentatonic Melody of King Fuxi and the 2nd and 3rd voice of the „Coda“ of the fugue composition it was ready.
Now Palma started to play the whole new „Eurasian“-Fugue with his 3 voices.
Palmina was very proud, her smile and her love made him a very creative composer.
SHE, the little lutenist Palmina / Albina discovered his music talent!
As she looked at Palma very slowly and smiling during he played so on the harpsichord she decided to give him a tender kiss and she took her Pipa and as the Pentatonic King Fuxi Melody returned she played with him the Melody in its original form of Pipa solo 4:
And this beautiful little secret concert of Pipa and harpsichord was like that:
VIDEO [complete Fuga a3 FuXi Hapsicord+Pipa ]:
music: [harpsichord+Pipa (last 5 bars)]
„Fuga a 3 Fuxi【伏羲】Melody“
about the King Fuxi 伏羲 Melody of Pipa solo 4
by Gerald Spitzner
( to be continued…)
**) Fuga / Fugue: – https://en.wikipedia.org/wiki/Fugue
In music, a fugue [/fjuːɡ/ fewg] is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition.
In the Middle Ages, the term was widely used to denote any works in CANONIC style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. 
Most fugues open with a short main theme, the subject, which then sounds successively in each voice (after the first voice is finished stating the subject, a second voice repeats the subject at a different pitch, and other voices repeat in the same way); when each voice has entered, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further „entries“ of the subject then are heard in related keys. Episodes (if applicable) and entries are usually alternated until the „final entry“ of the subject, by which point the music has returned to the opening key, or tonic, which is often followed by closing material, the coda. In this sense, a fugue is a style of composition, rather than a fixed structure.
***) Aristoxenus of Tarentum , Works: – Wikipedia https://en.wikipedia.org/wiki/Aristoxenus#Other_works
„Πυθαγόρου βίος“ – Life of Pythagoras: fr. 11 Wehrli
Περὶ Πυθαγόρου καὶ τῶν γνωρίμων αὐτοῦ On Pythagoras and his pupils : fr. 14 Wehrli
On the Pythagorean life (Περὶ τοῦ Πυθαγορικοῦ βίου): fr. 31 Wehrli
Pythagorean maxims or Pythagorean negations (Πυθαγορικαὶ ἀποφάσεις): fr. 34 Wehrli
Educational customs or Rules of education (Παιδευτικοὶ νόμοι): fr. 42-43 Wehrli
Political laws (Πολιτικοὶ νόμοι): fr. 44-45 Wehrli
Mantinean character (Μαντινέων ἔθη): fr. 45, I, lines 1-9 Wehrli
Praise of Mantineans (Μαντινέων ἐγκώμιον): fr. 45, I, lines 10-12 Wehrli
Life of Archytas (Ἀρχύτα βίος): fr. 47-50 Wehrli
Life of Socrates (Σωκράτους βίος): fr. 54 Wehrli
Life of Plato (Πλάτωνος βίος): fr. 64 Wehrli
On tonoi (Περὶ τόνων): a brief quotation in Porphyry’s commentary on Ptolemy’s Harmonics, p. 78 Düring (not edited by Wehrli)
On music (Περὶ μουσικῆς): fr. 80, 82, 89 Wehrli
On listening to music or Lecture course on music (Μουσικὴ ἀκρόασις): fr. 90 Wehrli
On Praxidamas (Πραξιδαμάντεια): fr. 91 Wehrli
On melodic composition or On music in lyric poetry (Περὶ μελοποιίας): fr. 93 Wehrli
On musical instruments (Περὶ ὀργάνων): fr. 94-95, 102 Wehrli
On auloi (Περὶ αὐλῶν): fr. 96 Wehrli
On auletes (Περὶ αὐλητῶν): fr. 100 Wehrli
On the boring of auloi (Περὶ αὐλῶν τρήσεως): fr. 101 Wehrli
On choruses (Περὶ χορῶν): fr. 103 Wehrli
On tragic dancing (Περὶ τραγικῆς ὀρχήσεως): fr. 104-106 Wehrli
Comparisons of dances (Συγκρίσεις): fr. 109 Wehrli
On tragic poets (Περὶ τραγῳδοποιῶν): fr. 113 Wehrli
Life of Telestes (Τελέστου βίος): fr. 117 Wehrli (according to whom this Telestes is the dithyrambic poet)
Miscellaneous table talk or Sympotic miscellany (Σύμμικτα συμποτικά): fr. 124 Wehrli
Notes or Memorabilia (Ὑπομνήματα), Historical notes (Ἱστορικὰ ὑπομνήματα), Brief notes (Κατὰ βραχὺ ὑπομνήματα), Miscellaneous notes (Σύμμικτα ὑπομνήματα), Random jottings (Τὰ σποράδην): fr. 128-132, 139 Wehrli
****) „Chinese music,
the art form of organized vocal and instrumental sounds that developed in China. It is one of the oldest and most highly developed of all known musical systems. Chinese music history must be approached with a certain sense of awe. Indeed, any survey evokes the music of a varied, still-active civilization whose archaeological resources go back to 3000 bce and whose own extensive written documents refer to countless forms of music not only in connection with folk festivals and religious events but also in the courts of hundreds of emperors and princes in dozens of provinces, dynasties, and …“. (www.britannica.com)