that's in G, E, & B, too.

symmetry can be a component of beauty. I would agree with wsieber that a subtle non-symmetry can be what makes the difference. for me, beauty arises out of things being experience-able on several levels, all with a proportion and sense of structure that speaks to those different levels.

now if someone can tell me what the hell that means I would really appreciate it!

In reply to:

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In my experience, really captivating beauty arises from symmetry (including periodicity) which is just slightly broken.

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Similarly, to me the most beautiful tunes combine harmony and dissonance. For example, at times the note in the melody is in harmony with the underlying bass or chords, and at other times is off a little, like a D note played over a C major chord. (Not sure if I explained that properly...oh well.)

...the most beautiful tunes combine harmony and dissonance

Another (related) set of attributes is Tension and Resolution. They are generally easy to spot if you're looking at that dimension, and when well realized the outcome is exquisite.

Bach's compositions do seem to work well in almost any instrumentation.

I believe this is because he was a composer/performer on pianoforte, not to mention his "big ears".

...and at other times is off a little, like a D note played over a C major chord.

This sound is so "key centered" (to me) that it is not at all "off" [crossthreading], but I know what you meant!

Well it's certainly true that you can get a lot more dissonant than a D 9th chord.

Tension and Resolution. They are generally easy to spot if you're looking at that dimension, and when well realized the outcome is exquisite.
Yes; I once referred to this as a musical orgasm.

...and when well realized the outcome is exquisite.

Some people really, really like the taste of butter.

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It's a nice metaphor for those that are used to things resolving the "same way every time", but it says nothing to those that aren't listening for it...

... a 4-3 and a 7-1 are only realized in context, but who's counting?

...and Yes, consuelo, I'd like fries with that!

Some people really, really like the taste of butter
Because butter makes other things go down more easily

Back to the alphabet.

Et:

What I like about one of the usual ways of reciting and singing the alphabet is it takes off with a bang, like a shot into the air, but it slows down dramatically at the end, like a slowly falling leaf, to mix metaphors. I wouldn't say the alphabet exactly as you wrote it above. In order to show the slow down, I'd show it slightly differently:

a_b_c_d_e_f_g___
h_i_j_k_
lmnop___
q_r_s___
t_u_v___
w._x_
y___
z___

Or:
abcdefg_
hijk[lmno]p
qrs
tuv
w
x
y
z

(and the [lmno]in brackets to show compressed time)

So, even though not symmetrical, it's finally satisfying dramatically--quick pace at the upper end settles down at the end.

Heart beat: auditory training.

Well, yeah. But there's also the beat of the feet that is implanted deeply in our psyches when we walk--and the quickened tempo that's implanted, too, when we run. And the distinctive galloping and skipping rhythms (both distinct from each other, by the way--have you ever noticed?)...and so on. Being bipeds, we have all kinds of rhythms deeply embedded inside us from childhood on. Even crawling must have embedded something musical inside us. Bach used to compose inside his head by walking many miles to organ recitals. He'd set his lines to match his pace. We are natural metronomes and we can change our tempo at will.

If you're interested in how strongly connected are the body and music, take a look into the Delcroze method. Jacqueline Du Pré's mother, a highly accomplished pianist, was also an instructor in the method which provides many bridges between dance, movement, kinesthetics and music. And Du Pré's mother provided Delcroze training for both Jackie and her sister when they were young.

So, it's the heart, yes. But it's more than the heart. It's our feet and our arms and our fingers and even our toes. It may be the blink of our eyes, too. The heart is that persistent ostinato, its tempo influenced by our physical and emotional reactions. But we carry other constant music makers around with everything we do--if we have ears to hear.

abcdefg_
hijk[lmno]p
qrs
tuv
w
x
y
z

...if we have ears to hear.

I ain't gonna start with 'hearing -vs- listening' [yet again] but, I *know it as:

abcdefg_
hijk[lmno]p
qrstu_v_
w
x
y and z

ww - I'd really have to *insist that "If you're interested in how strongly connected are the body and music..." try performing some.