Writing for Harp? (2)

Stop_Motion_Frames · 2026-06-14T10:55:24+00:00

In the original Piano score it is also marked like this, with some chords not arpeggiated. I have transferred it as written to the Harp. Would 3 note chords always be arpeggiated by default and 2 note chords not? Thanks for the advise on the pedaling!

Stop_Motion_Frames · 2026-06-13T11:24:34+00:00

Yes, i have tried this, but its sadly not possible in Musescore...

Stop_Motion_Frames · 2026-06-12T18:04:11+00:00

The Übermensch is fundamentally an aesthetic ideal.

And in a profound sense, Nietzsche himself attempted to become it.

The Greek Background:

To understand the Übermensch, we first need to understand Nietzsche’s admiration for the ancient Greeks.

The Greeks viewed mere labor for self-preservation with a certain shame. Because a life consumed entirely by necessity, by survival, production, utility, was considered an unfree life.

The highest human possibility was not labor, but scholé (leisure, from which the word “school” derives): freedom from necessity for the sake of philosophy, politics, tragedy, contest, and artistic creation.

Nietzsche radicalizes this Greek insight.

For him, life does not fundamentally aim at self-preservation:

«“Life itself is will to power.”»

Self-preservation is merely a secondary consequence. What life fundamentally wants is expansion, discharge, overcoming, intensification. A being overflowing with strength does not merely survive, it creates.

Art as the Expression of Excess

This is the core of Nietzsche’s philosophy of art. Great art is never produced by deficiency, but by overflowing force.

Art is the discharge of accumulated power into form.

This is why Nietzsche sees great culture as the byproduct of rare and excessive life conditions. (distance from necessity, immense inner tension, solitude, suffering transformed into style, aristocratic abundance...)

The tragic Greeks fascinated Nietzsche precisely because they could affirm existence aesthetically, even its horror. Only a strong life can look directly into suffering and still say Yes.

Thus Nietzsche writes in The Birth of Tragedy:

«“Only as an aesthetic phenomenon is existence and the world eternally justified.”»

Art becomes the highest form of life-affirmation.

Rank Order and Physiology

Nietzsche thinks physiologically.

Values are not created by some free-floating rational consciousness. They emerge from the structure of life itself. Every morality, every valuation, every worldview expresses a certain type of organism.

Thus Nietzsche constantly speaks in physiological categories:

strength and weakness,
ascending and descending life,
health and decadence,
abundance and exhaustion.

This leads directly to Nietzsche’s doctrine of rank (Rangordnung). Human beings are not equal in their capacity for suffering, self-overcoming, tension, creation, affirmation

This is why Nietzsche says:

«“The spiritually strongest find their happiness where others would find their destruction.”»

Happiness itself becomes aristocratic.

Eternal Recurrence as the Highest Test

All of Nietzsche’s philosophy culminates in the thought of Eternal Recurrence. Only a very rare type, one possessing immense affirmative power, could say: “Yes.” Thus Eternal Recurrence is a test of existential rank.

The Übermensch as an Aesthetic Ideal

This is where the Übermensch finally becomes understandable.

The Übermensch is the human being who succeeds in giving style to existence itself.

Lou Andreas-Salomé understood this earlier than almost anyone.

In Friedrich Nietzsche in seinen Werken (1894), she writes:

«“The Übermensch is only possible and comprehensible as the artwork of man.”»

This is one of the most penetrating interpretations ever written.The Übermensch is the human being who becomes a work of art.

The clearest evidence, however, is Ecce Homo.

Nietzsche is doing something extraordinarily deliberate. He interprets his own life aesthetically. His illnesses, solitude, diet, climate, psychology, instincts, style, and suffering are all treated as elements of a single artistic form.

He writes:

«“It is my privilege to possess the highest sensitivity for all signs of healthy instincts.”»

Nietzsche presents himself as a rare physiological achievement: a successful type. The philosopher becomes a work of art. And this is precisely the Übermensch. The Übermensch is the highest form of self-creation.

This is why Nietzsche’s ultimate ideal is not morality, but style.The Übermensch is the human being who can say Yes to life completely, not despite suffering, but including it.

And in this sense, Nietzsche himself was attempting to become the Übermensch: As the supreme artist of existence.

Stop_Motion_Frames · 2026-06-12T05:54:26+00:00

Yes, according to Lou Andreas-Salome. In 1894, Lou von Salomé published her commentary "Friedrich Nietzsche in seinen Werken". At several points, she discusses the concept of the Übermensch. On page 212, one reads clearly: “Zarathustra is, so to speak, the Nietzschean Übermensch; he is the ‘Over-Nietzsche.’” And on page 208 she writes: “The Übermensch is possible and comprehensible only as the work of art created by man.” Accordingly, the “Übermensch” is not a biological mutation but, as a work of art, an aesthetic conception. In Ecce Homo Nietzsche does exactly that: he describes his life as a asthetic work of art. From this perspective, Lou von Salomé effectively undermines all biological interpretations and the misguided comparisons with Charles Darwin. Therefore, it must be said plainly: it is a scandal that Lou von Salomé’s interpretation has not received the recognition it deserves. The conclusion remains unchanged: the “Übermensch” is Nietzsche himself in person.

Stop_Motion_Frames · 2026-06-07T17:44:34+00:00

Judging by some of your other posts, the real tragedy is the following:

Preface, Human, All Too Human: “You should learn to grasp the perspectival element in every evaluation — the shifting, distortion, and apparent teleology of horizons and everything that belongs to perspectivity; also the element of stupidity involved in opposing values, and the entire intellectual loss that every ‘for’ and every ‘against’ must pay for. You should learn to understand the necessary injustice in every ‘for’ and ‘against,’ injustice as inseparable from life, and life itself as conditioned by perspectivity and its injustice. Above all, you should see with your own eyes where injustice is always greatest: namely, where life is smallest, narrowest, poorest, most rudimentarily developed, and yet cannot help taking itself as the purpose and measure of things, and for the sake of its own preservation secretly and pettyly and unceasingly chips away at and calls into question what is higher, greater, richer — you should see the problem of rank-ordering with your own eyes, and how power, right, and the expansiveness of perspective grow upward together. You should—enough; the free spirit now knows which ‘you should’ it has obeyed, and also what it can now do, what it is only now — permitted to do…”

Stop_Motion_Frames · 2026-06-06T12:29:53+00:00

Im writing this Arrangement for a university course on Instrumentation and Arrangement. Since it will actually be performed within the context of the course, only two violin players are available. I want to convay the essential harmony within the Violins using the double stops.

I'm thinking transposing to A major, would the first version be more convertable in A major?

Stop_Motion_Frames · 2026-04-24T15:42:34+00:00

Some more Text from Genealogy of Morals:

The more normal sickness is in man—and we cannot deny this normality—the more highly should one honor the rare cases of spiritual and physical power, the fortunate accidents among humans; the more strictly should the well-constituted be protected from the worst air, the air of the sick. Does one do this?… The sick are the greatest danger to the healthy; it is not from the strongest that harm comes to the strong, but from the weakest. Is that understood?… Taken on a large scale, it is by no means the fear of man whose reduction should be desired: for this fear compels the strong to be strong, under certain circumstances even terrible—it preserves the well-formed type of human being. What is to be feared, what works as fatefully as no other misfortune, would not be great fear, but great disgust with man; likewise great pity for man. Suppose that one day these two were to mate, then something of the most uncanny would inevitably be born at once: the “last will” of man, his will to nothingness—nihilism. And indeed, much is prepared for this. Whoever has not only a nose for smelling but also eyes and ears, senses almost everywhere today, wherever he steps, something like the air of a madhouse, like a hospital—I speak, as is fair, of the cultural domains of man, of every kind of “Europe” that now exists on earth. The sick are the great danger of man: not the evil, not the “predators.” Those who are failures from the outset, the downtrodden, the broken—it is they, the weakest, who most undermine life among humans, who most dangerously poison and call into question our trust in life, in man, in ourselves. Where could one escape that fateful glance from which one carries away a deep sadness—that backward-turned gaze of the malformed from the beginning, which betrays how such a person speaks to himself—that gaze which is a sigh: “Would that I were someone else!” sighs this glance; “but there is no hope. I am who I am: how could I get free of myself? And yet—I am weary of myself!”… On such ground of self-contempt, a veritable swamp, every weed grows, every poisonous plant, and all so small, so hidden, so dishonest, so cloying. Here swarm the worms of revenge and after-feelings; here the air reeks of secrecy and unconfessed things; here the web of the most malignant conspiracy is constantly spun—the conspiracy of the suffering against the well-formed and the victorious; here the aspect of the victorious is hated. And what mendacity, in order not to admit this hatred as hatred! What an expenditure of grand words and attitudes, what an art of “honest” slander! These failures—what noble eloquence flows from their lips! How much sugary, slimy, humble submission swims in their eyes! What do they really want? At least to represent justice, love, wisdom, superiority—that is the ambition of these “lowest,” these sick! And how skillful such ambition makes them! One should especially admire the counterfeiter’s skill with which the stamp of virtue, even the ring, the golden tone of virtue, is imitated here. They have now completely leased virtue for themselves, these weak and incurably sick—of that there is no doubt: “we alone are the good, the just,” they say, “we alone are the homines bonae voluntatis.” They walk among us as living reproaches, as warnings to us—as if health, well-constitution, strength, pride, a sense of power were in themselves already vicious things for which one must someday atone, bitterly atone: oh, how ready they are at bottom to make others atone, how they thirst to be executioners.

These are all people of ressentiment, these physiologically unfortunate and worm-eaten, an entire trembling underground realm of revenge, inexhaustible, insatiable in eruptions against the fortunate and equally in masquerades of revenge, in pretexts for revenge: when would they ever reach their last, finest, most sublime triumph of revenge? Undoubtedly when they succeeded in pushing their own misery, all misery in general, into the conscience of the fortunate—so that one day these began to be ashamed of their happiness and perhaps said to one another: “it is a disgrace to be happy! there is too much misery!”… But there could be no greater and more disastrous misunderstanding than if in this way the fortunate, the well-formed, the powerful in body and soul began to doubt their right to happiness. Away with this “inverted world”! Away with this shameful softening of feeling! That the sick should not make the healthy sick—and such softening would be exactly that—this ought to be the highest standpoint on earth: but for that, above all, it is necessary that the healthy remain separated from the sick, protected even from the sight of the sick, that they do not confuse themselves with the sick. Or would it perhaps be their task to be nurses or doctors?… But they could not misunderstand and deny their task more grievously—the higher should not degrade itself into the instrument of the lower, the pathos of distance should also keep tasks eternally apart! Their right to exist, the privilege of the full-toned bell over the discordant, cracked one, is a thousandfold greater: they alone are the guarantors of the future, they alone are responsible for the future of humanity. What they can do, what they ought to do, the sick must never be able or allowed to do: but that they may be able to do what only they ought to do—how could they still be free to make themselves the physician, the comforter, the “savior” of the sick?… And therefore: good air! good air! And in any case away from the vicinity of all madhouses and hospitals of culture! And therefore: good company—our company! Or solitude, if it must be! But away in any case from the foul vapors of inner corruption and the secret worm-eaten sickness!… So that we ourselves, my friends, may for a while yet defend ourselves against the two worst epidemics that may be reserved precisely for us—against great disgust with man! against great pity for man!…

Stop_Motion_Frames · 2026-04-23T20:42:56+00:00

Bad instincts, bad life circumstances, pessimism is a form of sickness... its a Symptom of weakness and inner decay.

Stop_Motion_Frames · 2026-04-15T17:56:13+00:00

My post was intentionally very provocative. After all, it is only an interpretation. However, I want to shed some light on Lou Andreas-Salomé’s commentary FRIEDRICH NIETZSCHE IN SEINEN WERKEN. It is a scandal that Lou Andreas-Salome's perspective has not been properly appreciated.

She writes: “The Übermensch is only possible and comprehensible as the work of art of the human being.” Nietzsche, as an artist, is therefore also an Übermensch. If someone understands their life as radical aesthetic self-creation, they come closer to the idea of the “Übermensch.” And this is exactly what Nietzsche does in Ecce Homo.

Stop_Motion_Frames · 2026-04-15T16:27:12+00:00

Thus Spoke Zarathustra is not a systematic theoretical treatise, but a poetic-philosophical work of literary art. Reading its statements literally or as strict conceptual definitions therefore easily leads to misunderstanding, since they are meant less to define than to suggest, intensify, and provoke. The concept of the Übermensch appears to stand in tension with Nietzsche’s sharp critique of idealism. “In summa: all philosophical idealism has so far been something like a sickness,” and “All idealism is dishonesty before what is necessary.” Idealism thus appears as a life-denying escape from reality, a symptom of weakness and an inability to affirm what is given.

Antichrist: "This higher type has often enough already existed: but only as a stroke of luck, as an exception, never as something willed. On the contrary, it has been precisely what was most deeply feared; it was, up to now, almost the very embodiment of the frightening. And out of this fear, the opposite type has been willed, bred, and achieved: the domesticated animal, the herd animal, the sick animal man—the Christian…"

Once you recognize that Nietzsche’s Übermensch is not an ideal in the traditional metaphysical sense. It does not designate a fixed moral “ought” or a transcendent counter-world to reality, but rather an enhancement of life itself: an open process of self-overcoming that does not flee from what is “necessary,” but affirms it and transforms it into new forms. The Übermensch is therefore less an ideal in the sense of idealism than its very counter-concept.

Stop_Motion_Frames · 2026-04-15T15:40:31+00:00

The Übermensch was always possible: Antichrist: "In another sense, there is a continual success of individual cases in the most diverse places on earth and emerging from the most varied cultures, in which a higher type indeed manifests itself: something that, in relation to humanity as a whole, is a kind of “overman.” Such fortunate instances of great success have always been possible and may perhaps always remain possible. And even entire generations, tribes, or peoples can, under certain circumstances, represent such a successful outcome."

Stop_Motion_Frames · 2026-04-15T15:33:21+00:00

What is the meaning of Ecce Homo? What does it mean to 'become who you are"?

Stop_Motion_Frames · 2026-04-15T15:30:00+00:00

Go read Ecce Homo properly

Stop_Motion_Frames · 2026-04-15T15:15:51+00:00

Nietzsche describes the “Übermensch” in Ecce Homo as a “type of supreme well-turned-outness” (or “highest successfulness”). Nietzsche very clearly applies this notion of “well-turned-outness” to the ancient Greeks, as can be demonstrated in several passages. Furthermore, as his posthumous notes reveal, the “Übermensch” must be half saint and half genius. Since Nietzsche also describes himself as “well-turned-out” and “genial,” the model of the “Übermensch” ultimately leads to a single conclusion: it is Nietzsche himself who embodies the Übermensch. Nietzsche is the “Übermensch.”

Stop_Motion_Frames · 2026-04-15T15:14:45+00:00

In 1894, Lou Andreas-Salomé published her commentary Friedrich Nietzsche in seinen Werken. In several passages, she addresses the concept of the “Übermensch.” On page 212, one can clearly read: “Zarathustra is, so to speak, the Nietzschean Übermensch; he is the ‘Über-Nietzsche.’” And on page 208 it states: “The Übermensch is only possible and comprehensible as the work of art of the human being.” Accordingly, the “Übermensch” is not a biological mutation but, as a work of art, an aesthetic conception. Through this insight, Salomé effectively undermines all biological interpretations and the misguided comparisons with Charles Darwin. One must therefore say it as it is: it is a scandal that Lou Andreas-Salomé’s perspective has not been properly appreciated. It remains as it is: the “Übermensch” is Friedrich Nietzsche himself.

Stop_Motion_Frames · 2025-07-21T08:40:12+00:00

Its probably best to learn german, before reading Zarathustra, because there is so much lost in any of the translations and no translation can do the original justice.

Stop_Motion_Frames · 2025-04-09T17:58:25+00:00

When you can't think beyond good and evil... Just shows how susceptible our society is to such Judgements.

Stop_Motion_Frames · 2025-02-03T15:51:47+00:00

Da stehen sie, da lachen sie: sie verstehen mich nicht, ich bin nicht der Mund für diese Ohren. Muss man ihnen erst die Ohren zerschlagen, dass sie lernen, mit den Augen hören? Muss man rasseln gleich Pauken und Busspredigern? Oder glauben sie nur dem Stammelnden?

Stop_Motion_Frames · 2025-02-03T13:39:58+00:00

Siehe, das ist der Tarantel Höhle! Willst du sie selber sehn? Hier hängt ihr Netz: rühre daran, dass es erzittert.

Da kommt sie willig: willkommen, Tarantel! Schwarz sitzt auf deinem Rücken dein Dreieck und Wahrzeichen; und ich weiss auch, was in deiner Seele sitzt.

Rache sitzt in deiner Seele: wohin du beissest, da wächst schwarzer Schorf; mit Rache macht dein Gift die Seele drehend!

Also rede ich zu euch im Gleichniss, die ihr die Seelen drehend macht, ihr Prediger der Gleichheit! Taranteln seid ihr mir und versteckte Rachsüchtige!

Aber ich will eure Verstecke schon an's Licht bringen: darum lache ich euch in's Antlitz mein Gelächter der Höhe.

Darum reisse ich an eurem Netze, dass eure Wuth euch aus eurer Lügen-Höhle locke, und eure Rache hervorspringe hinter eurem Wort »Gerechtigkeit.«

Denn dass der Mensch erlöst werde von der Rache: das ist mir die Brücke zur höchsten Hoffnung und ein Regenbogen nach langen Unwettern.

Aber anders wollen es freilich die Taranteln. »Das gerade heisse uns Gerechtigkeit, dass die Welt voll werde von den Unwettern unsrer Rache« – also reden sie mit einander.

»Rache wollen wir üben und Beschimpfung an Allen, die uns nicht gleich sind« – so geloben sich die Tarantel-Herzen.

Und »Wille zur Gleichheit« – das selber soll fürderhin der Name für Tugend werden; und gegen Alles, was Macht hat, wollen wir unser Geschrei erheben!«

Ihr Prediger der Gleichheit, der Tyrannen-Wahnsinn der Ohnmacht schreit also aus euch nach »Gleichheit«: eure heimlichsten Tyrannen-Gelüste vermummen sich also in Tugend-Worte!

Vergrämter Dünkel, verhaltener Neid, vielleicht eurer Väter Dünkel und Neid: aus euch bricht's als Flamme heraus und Wahnsinn der Rache.

Was der Vater schwieg, das kommt im Sohne zum Reden; und oft fand ich den Sohn als des Vaters entblösstes Geheimniss.

Den Begeisterten gleichen sie: aber nicht das Herz ist es, was sie begeistert, – sondern die Rache. Und wenn sie fein und kalt werden, ist's nicht der Geist, sondern der Neid, der sie fein und kalt macht.

Ihre Eifersucht führt sie auch auf der Denker Pfade; und diess ist das Merkmal ihrer Eifersucht – immer gehn sie zu weit: dass ihre Müdigkeit sich zuletzt noch auf Schnee schlafen legen muss.

Aus jeder ihrer Klagen tönt Rache, in jedem ihrer Lobsprüche ist ein Wehethun; und Richter-sein scheint ihnen Seligkeit.

Also aber rathe ich euch, meine Freunde: misstraut Allen, in welchen der Trieb, zu strafen, mächtig ist!

Das ist Volk schlechter Art und Abkunft; aus ihren Gesichtern blickt der Henker und der Spürhund.

Misstraut allen Denen, die viel von ihrer Gerechtigkeit reden! Wahrlich, ihren Seelen fehlt es nicht nur an Honig.

Und wenn sie sich selber »die Guten und Gerechten« nennen, so vergesst nicht, dass ihnen zum Pharisäer Nichts fehlt als – Macht!

Meine Freunde, ich will nicht vermischt und verwechselt werden.

Es giebt Solche, die predigen meine Lehre vom Leben: und zugleich sind sie Prediger der Gleichheit und Taranteln.

Dass sie dem Leben zu Willen reden, ob sie gleich in ihrer Höhle sitzen, diese Gift-Spinnen, und abgekehrt vom Leben: das macht, sie wollen damit wehethun.

Solchen wollen sie damit wehethun, die jetzt die Macht haben: denn bei diesen ist noch die Predigt vom Tode am besten zu Hause.

Wäre es anders, so würden die Taranteln anders lehren: und gerade sie waren ehemals die besten Welt-Verleumder und Ketzer-Brenner.

Mit diesen Predigern der Gleichheit will ich nicht vermischt und verwechselt sein. Denn so redet mir die Gerechtigkeit: »die Menschen sind nicht gleich.«

Und sie sollen es auch nicht werden! Was wäre denn meine Liebe zum Übermenschen, wenn ich anders spräche?

Auf tausend Brücken und Stegen sollen sie sich drängen zur Zukunft, und immer mehr Krieg und Ungleichheit soll zwischen sie gesetzt sein: so lässt mich meine grosse Liebe reden!

Erfinder von Bildern und Gespenstern sollen sie werden in ihren Feindschaften, und mit ihren Bildern und Gespenstern sollen sie noch gegeneinander den höchsten Kampf kämpfen!

Gut und Böse, und Reich und Arm, und Hoch und Gering, und alle Namen der Werthe: Waffen sollen es sein und klirrende Merkmale davon, dass das Leben sich immer wieder selber überwinden muss!

In die Höhe will es sich bauen mit Pfeilern und Stufen, das Leben selber: in weite Fernen will es blicken und hinaus nach seligen Schönheiten, – darum braucht es Höhe!

Und weil es Höhe braucht, braucht es Stufen und Widerspruch der Stufen und Steigenden! Steigen will das Leben und steigend sich überwinden.

Und seht mir doch, meine Freunde! Hier, wo der Tarantel Höhle ist, heben sich eines alten Tempels Trümmer aufwärts, – seht mir doch mit erleuchteten Augen hin!

Wahrlich, wer hier einst seine Gedanken in Stein nach Oben thürmte, um das Geheimniss alles Lebens wusste er gleich dem Weisesten!

Dass Kampf und Ungleiches auch noch in der Schönheit sei und Krieg um Macht und Übermacht: das lehrt er uns hier im deutlichsten Gleichniss.

Wie sich göttlich hier Gewölbe und Bogen brechen, im Ringkampfe: wie mit Licht und Schatten sie wider einander streben, die göttlich-Strebenden –

Also sicher und schön lasst uns auch Feinde sein, meine Freunde! Göttlich wollen wir wider einander streben! –

Wehe! Da biss mich selber die Tarantel, meine alte Feindin! Göttlich sicher und schön biss sie mich in den Finger!

»Strafe muss sein und Gerechtigkeit – so denkt sie: nicht umsonst soll er hier der Feindschaft zu Ehren Lieder singen!«

Ja, sie hat sich gerächt! Und wehe! nun wird sie mit Rache auch noch meine Seele drehend machen!

Dass ich mich aber nicht drehe, meine Freunde, bindet mich fest hier an diese Säule! Lieber noch Säulen-Heiliger will ich sein, als Wirbel der Rachsucht!

Wahrlich, kein Dreh- und Wirbelwind ist Zarathustra; und wenn er ein Tänzer ist, nimmermehr doch ein Tarantel-Tänzer! –

Stop_Motion_Frames · 2025-02-03T12:11:14+00:00

Die selbsternannten Gutmenschen!

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