Prodigy Child

1.) If a child is able to sing a melody after hearing it, we call this child musical.

2.) If a child is also able to play this melody on the piano, we call it musical and smart.

3.) If the child is not only able to play the melody, but even to accompany it with suitable chords, we call it a little genius.

4.) Children that are even capable of replacing these chords by other substituting harmonies and to play variations in the melody are the ones we
refer to as prodigy children!

Why?

- The reason is: the first child merely has good hearing (a function of the right brain).

- The second child, however, does not only have a good hearing (right brain), but beyond this also an understanding about structures, such as the
piano keyboard with its high and low notes (the most simple function of the left brain) - the child is therefore using both halves of the cerebrum.
However, if it needs to seek out the keys first and try several different combinations before being able to play the melody correctly, this child is p
roven to be less smart, since it does not proceed systematically - it is merely guessing and experimenting, which keys will sound right (the left br
ain is not being used in this case).

- The third child is the one we refer to as a "little genius": not only are his abilities very rare, he even understands (consciously or unconsciousl
y) the structural origin of a melody! For a melody is more than a mere sequence of tones, which consist mostly of small intervals such as second
s and thirds - a melody is always based on a chord progression (a so-called cadence), and the child does therefore even understand this harmonic
structure which the melody is based on and which the composed used in writing the melody. We are therefore dealing with a sequence of tones a
nd chords, in the most simple case I - IV - V - I. If we inquire why this chord progression doesn't consist of the levels V - II - VII - IV, for examp
le, we are already dealing with advanced and complex music theory, and encounter physical and mathematic reasons behind the answers to those
questions; explaining these in greater detail would go beyond the scope of this text. This "small ! genius" already uses more complex brain functi
ons, which do not merely consist in the cooperation of the left and right brains, but even incorporate the functions of the front and back parts of t
he cerebrum.

- Taking a look at the brain functions of the first three children, we realise that the more gifted a child is, the longer the explanations which are n
ecessary to understand their talents become. How about the fourth child then, who is able to even vary both the melody and the harmony? If the
child varies the melody in a arbitrary and random way, this is not talent - every person is able to do this, and the origin of the "variation" is actual
ly mere negligence and sloppiness. No, a true variation consists rather of consciously chosen changes in the rhythm (in this way alone, a melody
can already be varied in several hundred ways), changes in the melody using approaching notes, trillers, etc. (which also allow for another few h
undred variations each) - or even accompanying an unchanged melody with a new chord sequence.

This text is not supposed to deal with the "why", since explanations would go to deep at this point - in order to understand the reasons and cause
s which make this child a genius, a minimum of four years of intensive studies of brain functions and genetics would be necessary. What we're d
ealing with here is a complex cooperation of the functions of the left and right brain as well as their respective front, middle and back parts, often
even incorporating functions of the cerebellum rather than restricting the work to the cerebrum alone. If beyond this talent, the child's nervous sy
stem and bone marrow also function at a high level and cooperate with the other parts, we refer to this person as a historical genius, as it was th
e cases with Mozart, Chopin, Rachmaninoff, Prokofiev, Gershwin, etc.

It may be startling what great complexity can be found in music - after all, the Major scale only consists of seven tones (the seven white keys in t
he case of C-Major, for example); and even when counting in the black keys, the whole musical material doesn't consist of more than 12 tones! Y
et with these 12 keys alone, millions of songs have been composed, songs that constitute a world-wide business of billions of dollars and which
allow for never ending variations. The reason is, behind this musical system lies a vast field of extremely complex laws of nature, laws which ca
n only be truly understood by a human brain that has attained its full development - and people who are able to truly understand and to make use
of all these secrets in their whole depth and complexity, these people are the ones we call geniuses.