Method on How to Perform Autophysiopsychic Music

For the past fifty-five years, I have been studying music, listening to musicians, records and talking to musicians who read, perform, and teach music. This method is a synthesis and I cannot begin to acknowledge all my indebtedness to others, although I wish I could do so. However, some of my obligations are quite clear. I should like to acknowledge here the patience and encouragement of my wife, and the technical assistance of Barry Harris. Thanks to the many fine musicians and persons with whom I have associated.

During my five months as a student teacher in New York City, I was frequently confronted by teenage music students who seriously asked me to teach them the art of autophysiopsychic music.* Their desires have helped motivate me into the undertaking of this project. Long experience in playing autophysiopsychic music* has also shown me the need for a meaningful method. I believe the following method will help to equip the musician with a vital musical skill and also enhance creative ability.

To comprehend this method, the student must know as a prerequisite the following aspects of musical theory:

a. major and minor scales

b. major and minor triads

c. major and minor chords

d. augmented and diminished chords

e. intervals

f. form

g. melody and rhythm

h. elementary knowledge of keyboard harmony

* Autophysiopsychic Music: Music which comes from one's physical, mental and spiritual self.