i've never thought of music this way, to simplify it to a combination of tones pulled from one octave. sortof like working with geometric shapes when designing: circle, square, triangle, etc. makes sense...
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Björk: I've been walking outside in nature since I was a little child, singing a few hours a day. That's still what I have to do. It's as important for me as food or sleep. I've found a lot of good little routes here.
Interviewer: Do you walk by yourself?
Björk: Yes. That's kind of how I wrote most of my melodies.
Interviewer: Do you sing out loud?
Björk: Yeah. For sure. This is probably one of the few cities where you can without getting locked up.
Interviewer: Do people recognize you when you're singing?
Björk: Yeah, but they don't give a shit. I mean in London, there's paparazzi following me around wherever I go. Here, people don't care. They're just like, 'So?'
Interviewer: So, New Yorkers have heard most of the songs on Vespertine, whether they know it or not.
Björk: Yeah, that's a nice thought. I guess I really believe in the 12 notes on the piano. It's so magical. You kind of hit note two and you do note nine and note seven three times, and that's a map to a certain emotional location. And if you do note seven and then note two five times, that's a map to another emotional location. It's my favorite thing in the world: the power of melody. For centuries, folk melodies have had a very symbolic meaning to human beings. It's a map to our feelings that nothing else can map out.
May 31st