Preparation of perfume compositions. Making perfume - Master class on making perfume at home

§ 2.

Purpose and composition of perfume compositions

Perfume compositions of even the simplest perfume composition consist of a large number of fragrant substances. For example, the recipe for the well-known perfume “Red”

Moscow” contains 16 individual aromatic substances and essential oils, as well as nine base compositions.

For a long time, perfume compositions were composed only of natural essential oils, resins and balms. The range of natural essential oils currently included in perfume compositions is quite wide and includes more than 200 names, including 20 domestic essential oils. Some natural essential oils come from abroad (orange, lemon, patchouli, santal, etc.).

With the development of the chemistry of synthetic fragrances, synthetic products occupy a leading place in perfume compositions. Using, along with natural products, a large assortment of synthetic aromatic substances allows the perfumer to obtain new original scents not found in nature. Among the large number of synthetic organic compounds that have an odor, only a small part belongs to the so-called synthetic fragrances - compounds that have a characteristic odor and are used in compositions. Currently, domestic compositions include more than 160 different synthetic fragrant substances. Along with natural essential oils and synthetic aromatic substances, base compositions are widely introduced into perfume compositions, both reproducing the smell of natural oils and having an original smell.

Based on the nature of the smell, perfume compositions are divided into two groups: floral and fantasy.

Floral arrangements reproduce the scent of a flower or a flower bouquet; fancy - have a smell that may not occur in nature.

A well-composed composition must satisfy the following requirements:

A harmonious combination of aromatic substances included in the composition;

A certain duration of odor sensation;

Relatively qualitative invariability of odor during their storage and evaporation during use, upon contact with human skin, clothing or hair.

§ 3. Basics of composing perfume compositions

Composition is the basis of perfume art. Creating perfumes is both a science and an art.

The success of constructing perfume compositions with an original hall-

xqm depends on the knowledge, experience of the perfumer, his creative individuality.

The type of smell of a perfume composition is determined by its composition and mainly by the ratio of the leading components. Thus, the leading components for compositions with the scent of violet are ionone, methyl ionone, iralia, iris oil, ver-violet; with the smell of lily of the valley - hydroxycitronellal, linalool, dimethyl acetal, phenylacetaldehyde; with rose scent - citranellol, geraniol, phenylethyl alcohol, rose oil; with the smell of cloves - eugenol, isoeugenol, clove oil; with the scent of jasmine - benzyl acetate, jasminaldehyde, jasmine oil.

In table Table 6 shows the components included in some compositions with a floral scent (violet, lily of the valley, rose, carnation, jasmine).

As can be seen from table. 6, in compositions with the scent of violet you can find components of rose and carnation; with the scent of lily of the valley - components of jasmine, rose; with the smell of jasmine - components of lily of the valley, rose, etc. Therefore, a perfumer can create an unlimited number of different scents by selecting a combination of fragrant substances. The nature of the smell will be determined by the combination and ratio of fragrant substances.

When composing floral compositions, the perfumer is somewhat limited in the choice of fragrant substances. However, it has been established that floral perfumes with the scent of lilac, lily of the valley, violet, etc., created by different perfumers, differ significantly in shades of smell. This is explained by the fact that different perfumers perceive and reproduce the smell of a natural flower differently. The perfumer's abilities are manifested to a much greater extent when creating fantasy compositions, for example, with the smell of chypre, fougere, leather, etc. Perfume compositions with a fantasy smell are the basis of numerous perfumes (''Triumph'', ''Visit'', ''Ogonyok'', '' Cinderella”, “Stone Flower”, “Only You”, “Opera”, “Sardonyx”, “Nocturne”, “Russian Shawl”, “Night Aroma”, “Chypre”, etc.). The scents of chypre and fougère are due to the combination of aromatic substances with a citrus scent, oak moss and components of rose, jasmine and clove.

To create a woody note, the following aromatic substances are introduced into the compositions: patchouli, santhal, vetiver oils, ionone, methyl ionone. Peruvian and Tolu balsams, benzoin resin, cistus, and opoponax add a balsamic note to perfume compositions. Notes of amber and musk are created by introducing into the composition infusions of ambergris, natural musk, beaver stream, indole, skatole, nitromusks and other synthetic aromatic substances with the smell of musk.

Let's consider the construction of a perfume composition with a fantasy scent using the example of a composition with the scent of chypre.

The main components that determine the smell of chypre are the following: oak moss resinoid, bergamot, lemon, lavender, vetiver, patchouli oils, cistus, ionone, methyl ionone, compounds with a musky odor, amber, and vanilla.

6. Components included in some compositions with the scent of violet, lily of the valley, rose, carnation, jasmine

There are three stages of smell in perfume compositions, depending on the rate of evaporation of fragrant substances: the initial smell (felt shortly after the evaporation of alcohol from the perfume), the main smell (the smell characteristic of a given name of the perfume) and the final smell (the smell that remains after long-term evaporation of the perfume).

The initial odor of the compositions is due to highly volatile aromatic substances (aldehydes, citrus oils, etc.), the main odor is due to less volatile aromatic substances (terpineol, ionone, methylane tranilate, etc.), the final odor is due to very low-volatile aromatic substances (oak moss, musk, ketone, etc.). Low-volatile products, as a rule, do not have a very pleasant initial odor, but in combination with other components they give the compositions a good note. To improve the smell of a mixture of non-volatile aromatic substances, more volatile products are added to the composition. Highly volatile products give the composition a pleasant initial note.

To create a chypre scent, they first find a combination of slow-volatile aromatic substances, such as oak moss and amber, which is most characteristic of the chypre scent. Since the scent of chypre contains a musky note, you should add to this combination, for example, musk-cous-ketone and then introduce veti-vere oil, patchouli and jasmine absolute in varying proportions. The combination of these products will determine the final scent of the perfume. However, this composition has an unpleasant initial note when evaporating from the strips of paper. To soften this unpleasant note and create a more characteristic chypre scent, more volatile substances are introduced into the composition, for example, with a floral scent, with a rose scent (rose oil, citronellol, geraniol, geranium oil), and then you can add, for example, fledo-range absolute oil or a composition with the scent of lily of the valley. By introducing these products in various proportions, the perfumer tries to find a combination of these aromatic substances with the most pleasant and characteristic odor.

The search for compounds for the initial note is easier, since there is a large assortment of highly volatile aromatic substances with a pleasant odor. You can introduce, for example, orange and bergamot oils, aldehydes with a molecule containing from 9 to 12 carbon atoms. The variations of this recipe can increase almost unlimitedly, while remaining within the framework of the scent of chypre with various shades. Thus, a perfumer can vary perfumes with a given odor character, choosing the combinations he likes. At the same time, he should not try to introduce all existing fragrant substances into the composition. First of all, he selects the products with which he intends to work to create the intended scent.

To obtain the desired scent, the perfumer usually starts from individual synthetic aromatic substances and essential oils, but can also combine one base composition with another, taking them in equal quantities or one in more and the other in less. Then individual aromatic substances are added to these combinations, which determine the initial, main and final odors of the composition. At the same time, many aromatic substances simultaneously determine the initial and main notes of the smell (for example, lavender oil, bergamot, rosemary, etc.).

Thus, first the perfumer creates the main, or so-called leading scent. Then, to the main smell, he selects aromatic substances that complement and harmoniously combine with the main smell and give the perfume a certain fullness, timbre, tone and color.

In both domestic and foreign practice, a new composition, as a rule, is developed not for one type of perfume product, but mainly for a complete series, which includes perfume, cologne, eau de toilette, bath preparation, fragrant talc, etc. Although the composition may also be intended for a narrower series (only for perfumes and colognes or only for perfumes).

The necessary components of perfume compositions for classic colognes are natural citrus oils: orange, tangerine, lemon, bergamot, as well as lavender, rosemary, petitgrain and neroli. Citrus oils contribute to the freshness of the initial scent of colognes. Other products included in perfume compositions for classic colognes only emphasize the note of citrus oils and complement it. Lavender, rosemary, petitgrain and lemon oils add a fresh, floral touch.

In addition to classic colognes, there are also fancy scented colognes, which are classic colognes with the addition of other products.

In foreign practice, over the past few years, the predominant direction has been compositions of a floral nature with various shades. Floral aromas of a sweetish-spicy nature, close in smell to the so-called oriental style in perfumery, are becoming especially popular.

In parallel with the leading trend represented by floral compositions, another one has developed in foreign perfumery in recent years - musk. The sharp, unpleasant smell of so-called musk oils distinguishes them from traditional perfumery products, as well as more complex compositions based on a combination of the smell of musk with the aromas of jasmine, sandalwood, oakmoss, vanilla and ylang-ylang.

The right combination of aromas in a composition of several aromatic oils will help maintain youthful skin, give it a magnificent and seductive aroma, and lift your spirits.

Aromatic compositions can be both feminine and masculine, summer and winter, soothing and invigorating. Once you learn how to put them together, it’s easy to prepare greathomemade soapas a gift to a loved one, or for general use, and a small piece of soap in the shape of a heart or rose will look great on the dressing table, at the same time exuding a wonderful aroma.

Getting acquainted with the characteristics of aromatic oils and learning their beneficial properties , you can choose a scent that is pleasant to you, but here you should rely only on your own taste. Always remember that if the smell does not evoke positive emotions in you, it will make you feel dizzy, headaches, and unpleasant sensations. Therefore, it should not be used, no matter how useful it may be.

To compose a compositionYou will need several strips of clean white paper 10 cm long and 5 mm wide. Apply 1 drop of the aromatic oil you like to the strip and prepare 2-3 strips of paper with different aromatic oils, not forgetting to label each of them. Then fold the strips into a fan and feel their combined aroma. Close your eyes and try to focus on your emotions, physical sensations, feelings. Aroma can evoke various associations, awaken feelings and memories. If you like the smell, you should apply the selected oils all together on a handkerchief and evaluate the composition again after 30-40 minutes.

If it seems inharmonious, you need to add a new scent or remove the one that, in your opinion, is disturbing. The process of creating your own aroma composition It may take some time, but once you like the smell, you should start creating your own perfume, which will later be suitable for making homemade soap.

The found composition of aromas must be mixed with a base oil, for which sweet almond oil is excellent, it is odorless and perfectly dissolves essential oils. In addition, it will be an excellent component for any home cosmetics.

At this stage it is necessary to strictly maintain the proportions of the base and aromatic oils at the rate of 2-3 drops of the composition per 1 tsp. carrier oils. The mixture should be stored in a dark glass bottle with a tight lid in a cool, dark place, as mentioned above. Variants of aromatic compositions for a good mood, feminine attractiveness and much more Compositions of aromatic oils can be used as a perfume by applying it to the skin (behind the ear or on the wrist), or worn in aromacoulone on the neck. However, you need to be careful here as the oil can leave a greasy stain and ruin your clothes. It is also permissible to prepare a small piece of soap, put it in a clothes bag and hang it on the hanger of an evening dress - then it will be saturated with a wonderful aroma.

Fragrance "Lady"

Mix 2 parts bergamot oil and 1 part rosewood oil.

This light and delicate aroma will charge you with energy and optimism, increase communication skills, enhance sensuality, help with depression, severe headaches and strengthen the immune system.

Aroma "Intrigue"

Mix 2 parts ylang-ylang oil and 1 part patchouli oil.

The aroma of celebration, sensuality, and intrigue will have a tonic effect, give vigor and optimism, help with headaches, and have an antiviral effect.

Fragrance "Charm"

Mix 1 part each of ylang-ylang and geranium oils, 2 parts grapefruit oil.

Such a warm, bitter-floral aroma can maintain emotional balance, achieve success in communicating with people, and fill life with harmony and love. In addition, it normalizes hormonal levels, fat metabolism and, if necessary, has an analgesic effect.

Since ancient times, aromatic oils have been used as elixirs of love magic. Nefertiti, Cleopatra, Casanova, Pauline Viardot and other famous tempters of hearts resorted to them.

One of the unique features of the art of perfumery is the ability to reproduce the smells of plants. In this case, nature serves as a prototype for the perfumer, and the ability to vary mixtures of fragrant substances allows one to obtain harmonious complexes with completely unique new odors that may not be found in natural conditions.

Both the reproduction of plant odors and the production of new complexes are carried out by mixing individual fragrant substances. The resulting products, in the form of concentrated mixtures of fragrant substances, are called compositions.

The compositions are intended either for direct use in the form of solutions (perfumes, colognes, toilet waters) or as an addition to various media (soaps, powders, fatty and other substances) to give them a pleasant smell.

Making compositions is the basis of all perfumery technology.

The impressions of a perfume smell are associated first of all and in the overwhelming majority of cases with the idea of ​​a plant, because in natural conditions only the latter in their mass have a smell that is clearly perceived by humans, and mankind’s acquaintance with pleasant odors occurs precisely through the plant kingdom.

Another goal is the expression of some artistic idea or mood based on one or more fragrant substances, which in the presented combination (bouquet) sometimes resemble natural combinations of odors in nature, and sometimes have only a distant resemblance to them.

The depicted combination of fragrant substances must always have as its prototype life, real nature, must be close to the smell of a real or imaginary flower or bouquet, must have a certain “florality” that conveys the impression of reality.

Compositions should be composed in such a way in the assortment and weight ratios of the constituent parts that the fragrances of the individual components are harmoniously merged and not a single typical smell of an individual component, at least at the beginning, stands out sharply. This complete fusion of individual odors into a harmonious whole that is pleasing to the sense of smell represents the highest aspiration of the perfumer. The combination of odors will last only if the weight ratios of the individual components are in agreement with the intended shade of the mixture’s odor. Apart from practical experience or frequent repetition of variations and study of the classic recipe, there is not yet a way to navigate the weight ratios of individual components, especially when searching for new scents. On the contrary, if we are talking about the transmission of certain known odors, such as, for example, the reproduction of the smell of flowers, freshly cut hay, moss, etc., as well as certain odors of a special type, there are exact experimental data that are usually acquired in the process of work and studying classical copybooks.

When composing compositions with a floral scent, the perfumer is somewhat limited in the choice of fragrant substances, since their range in most cases is predetermined by the smell of the plant, which he mainly wants to convey. At the same time, the range of these substances is quite extensive, and the perfumer, imitating nature, also presents them in the form of complexes, mixtures, so-called floral compositions.

When composing fantasy scents, the perfumer is relatively free in the choice of raw materials, the range of which depends only on whether it will give a pleasant or unpleasant sensation in the mixture.

Composition of perfume compositions.

Any perfume, that is, an artificially harmoniously created composition, no matter what its scent, like natural essential oils, often consists of a very large number of individual fragrant substances.

For explanation in table. 1 we give an approximate recipe for the four most common perfume compositions: violet, heliotrope, fresh hay and trefle (clover).

Table 1.

Components of compositions.

Table 1 shows that each composition contains many different aromatic substances. So this in itself begs the question; Is it necessary to have so many fragrant substances, and if so, what basically determines the smell of this composition, what is the role of each of the other fragrant substances in the composition, and is it possible to get by with simpler combinations?

It is useful to further find out whether the abundance of components here is chaotic, a disorderly accumulation of various fragrant substances, a random accumulation of objects torn from each other, or is it a coherent, unified whole, where fragrant substances are organically connected with each other, depend on each other and determine each other friend.

With an in-depth analysis of the recipe of any perfume composition, we discover that its components obey a natural order, can be placed into a system and the functions of the composition elements can be identified.

Just like natural aromatic substances, a harmoniously assembled perfume composition consists of elementary parts - individual aromatic substances that organically gravitate towards each other. This attraction lies in the fact that these parts are grouped into natural segments (or phases, see Table 2), which give the impression of a certain, naturally occurring smell of flowers, fruits, leaves and other parts of plants. The functions of these elementary particles have an analogy in letters, which are then combined into words.

Table 2, part one.

Arrangement of fragrant substances in compositions by segments.

Table 2, part two.

These segments can be of two types:

1) completely conveying the smell of flowers, fruits, leaves or other parts of plants, i.e. from pre-prepared perfume compositions;

2) and transmitting only their main smell.

Ready-made perfume compositions consist either of phases of one first group or of some phases of the second group, or, finally, of a combination of both.

If we, in turn, analyze the phases of the first group, that is, those that completely convey the smell of various fragrant parts of plants, then we will find that they, in turn, consist of individual elements that convey only the main tone, the main smell of other types of plants .

Suppose we analyze the composition of violet: then we will also find in it the elements of the smell of jasmine, rose, heliotrope and lilac, and in the smell of white acacia - jasmine, orange flowers, lily of the valley, etc. Moreover, these elements of smell exist not only in artificial perfume compositions, but also in the odors of natural products.

In addition, if we take, for example, the smell of lilac, then under natural conditions we find in it quite strong signs of jasmine, lily of the valley, heliotrope and, in part, violets, larger or smaller, depending on the type of lilac (white, Persian, etc. ), and sometimes it comes to the point that some, especially those grown in greenhouses, varieties of lilac already smell like pure jasmine and generally bear little resemblance to lilac in smell.

The smell of jasmine and orange flowers is strongly felt in white acacia flowers, the smell of violets is in mateol, heliotrope, mimosa, the smell of lilac is in lily of the valley, etc., and many flowers somewhat resemble each other in smell.

As, for example, the repetition of smells in nature, where plants smell strongly similar to each other, one can point to representatives of various botanical species: rose and geranium flowers, violet flowers and iris root, cloves and some types of gillyflowers, white acacia flowers and orange flowers, violet leaf and green cucumbers, and many others. Thus, in perfume compositions we observe the same phenomenon that exists in natural conditions: the entire amount of chemically individual substances from which the perfumer builds numerous compositions is limited, but these substances, changed quantitatively and in various combinations, give us a huge variety of odors.

The perfumer has the opportunity to create an almost unlimited number of different scents of compositions by appropriate selection of fragrant substances. It all depends on the nature of the combinations and weight ratios. Sometimes this is achieved only by a slight shift of the smell in one direction or another, which is why some smells, although somewhat reminiscent of each other, are still completely different: for example, based on the smell of lily of the valley, compositions with the smell of lilac, linden, and cyclamen are created; from the smell of cloves - the smell of gilly leaves; from jasmine - magnolia, begonia, gardenia; from violets - flower cassia and mignonette; from clover - orchids, fresh hay; from hyacinth - sweet pea; from heliotrope - white acacia, mimosa, hawthorn, etc.

It should be noted that there is often a huge difference between the chemical components present in the smell of a natural flower, that is, in compositions created by nature itself, and the artificially reproduced smells of the same flower. In order to create the smell of a particular flower, fruit, etc., the perfumer takes advantage of the fact that the elements of the smell, its typical features, are repeated in nature, just as sounds, colors and lines are repeated. By using these elements in his creative combinations, the perfumer is able to evoke the corresponding impressions.

From here it will become clear why in the compositions given and in Table. 1 and 2, the scent of violets also includes jasmine, rose, heliotrope, and lilac; in heliotrope - jasmine, rose and violet, etc., and in all the given compositions the elements of smell are repeated.

Let's try to divide into segments the compositions of four different odors given in table. 1, in the form in which they are organically connected with each other, depend on each other and condition each other; Let’s try to collect these “letters” into “words” and we will get the picture in which they are presented in the table. 2.

From this table it is clear that by arranging fragrant substances in their proper places, accordingly grouping the components of these compositions, removing the “chaos”, the accumulation of fragrant substances, and by bringing them into the appropriate order, it turns out that they are subject to a regular distribution into combinations (segments ), each of which has one function, one typical feature, one specific smell, repeated in a whole group of different compositions. Individual aromatic substances, isolated in themselves, are grouped into more meaningful combinations; These combinations already form a ready-made perfume scent. So sounds, forming melodies, give birth to music.

The question arises: how are several different floral compositions created from the same segments, from related typical scents?

The fact is that by generalizing some typical features, we receive only a diagram, that is, a preliminary sketch of general features found as a result of studying the odors of many specific individual types of flowers and herbs. But in order to create a living, artistic, typical image that has all the diverse features of an individual object (for example, lilac, lily of the valley, jasmine, violet), we add to this scheme some fragrant substances that impart individual features to the overall composition. Such substances in violet are mainly ionone; in heliotrope - heliotropin; in fresh hay - coumarin; in trefle - salicylates (esters of salicylic acid). Each of these substances, by its predominance over the overall mixture, is, as it were, its highest point, determining the type of composition. These substances in perfumery are called leading odors.

Hence it is clear why the perfumer, when composing floral compositions, is somewhat limited in the choice of fragrant substances, the selection of which is predetermined by the smell of the type that he wants to convey.

At the same time, this limitation is not an obstacle to the manifestation of artistic creativity and the formulation of certain compositions with a certain floral (and equivalent) smell is not something stable and unchangeable. On the contrary, if we compare different, precisely defined floral perfumes, for example, lilac, lily of the valley, violet, etc., created by different perfumers, we will find that for the same tone they have different and sometimes quite significant deviations from the smell prototype. This does not always depend on the cost of the product or the inability of the perfumer to reproduce the exact smell of the flower, but no less on the fact that different perfumers understand this or that smell differently and therefore reproduce it differently. Therefore, by the general design of the smell, one can often recognize the “handwriting” of the perfumer.

The perfumer's "handwriting", however, is manifested to an incomparably greater extent when creating so-called fantasy compositions. Fantasy compositions, just like floral ones, are built mainly from the same floral segments, but differ in the originality of their arrangement. Here the perfumer creates new images that do not exist in life, based on a fantastic synthesis of elements of reality, based on imagination, that is, he creates new images based on the material of past perceptions. In the same way, all sorts of fantasy perfume compositions ("Chypre", "Blue Casket", "Wait for Me", "Camellia", etc.) are images that do not exist in life, created on the basis of a fantastic synthesis, but built on elements taken from reality (i.e., segments of different odors). A striking example of fantasy perfumes is "Pau d'Espagne" ("Spanish Leather"), "Russian Leather" and similar scents, "Jockey Club", and then "Fougere" ("Fern"), etc. From practice, we We know that neither Spanish leather (saddle leather) nor Russian leather (yuft) can be called “fragrant”, since they mainly smell of tar. But if you perfume these leathers with substances that are in harmony with their smell (musk, amber, sandalwood). oil, etc.), then the result is a unique, piercing, but warm, pleasant and very rich combination.

Almost the same combination of smells is used for the Jockey Club perfume, because riding in the saddle is always accompanied by the smells of tar (saddle) and body (horse), so these perfumes are based on tar (saddle smell) and musk with amber, transmitting the so-called “animal” odor, body odor, especially strong during the horse’s walk.

Of all the species of ferns existing in nature, we probably do not know of any that would have a more or less significant or attractive smell. However, perfumes of this name are produced by perfumers. In this case, the perfumer conveys not the smell of the fern, but the surrounding environment - a shady deciduous forest, where the fern grows in natural conditions, surrounding wild and forest flowers. The smell of a shady forest is conveyed mainly by oak moss extract, the smell of wild and forest flowers - by coumarin (reminiscent of the smell of fresh hay), "darkness" - by patchouli, vetiver and other oils.

Chords.

Any perfume composition consists of elementary particles in the form of individual fragrant substances. These fragrant substances are used because of the inherent tone, strength and shade of each of them, and just like sounds in music, they serve as material for constructing perfumery works. In a meaningful combination, these aromatic substances, by analogy with music, give us the aesthetic feeling that we experience from a perfume smell.

If we perceive individual fragrant substances (for example, those given in Table 1) similarly to simple sounds, then the simplest combinations of them (segments, Table 2) are like unity of sounds, i.e. in simultaneous “sounding”. Combinations in which several tones are juxtaposed at the same time, by analogy with music, can be called chords. Here, as in music, three sounds, four sounds and five sounds predominate.

Thus, as far as the construction of works is concerned, the analogy between simple sounds and elementary aromatic substances, between segments and chords, between a perfume composition and a musical thought, a musical phase is confirmed.

In table 2 shows a significant number of segments of compositions. These will be the primary chords. They serve mainly as phases for building a complete scent based on them.

To depict one or another of those indicated in the table. 1 and 2 smells, it is not necessary to take combinations of all substances indicated for a given chord: the main smell of heliotrope will be determined by one heliotropin, violets - by one ionone; jasmine - one benzyl acetate; clover - one amyl salicylate, but then this basis will turn out to be monophonic, too primitive. More harmonious are combinations of several primary chords, similar to those indicated above, from a mixture of several natural essential oils or their imitation with or without the addition of individual aromatic substances, or from one essential oil with the addition of individual aromatic substances. The essential oils themselves, for example, jasmine, rose, are primary chords for the perfumer, since they consist of combinations of several individual chemical substances created by nature itself and are perceived by our sense of smell as a single smell, but by their nature and their “elementary” nature they are not can satisfy us as a ready-made perfume scent, but only one of the components of a future composition (“sound scale”).

Finally, ready-made perfume mixtures are developed chords, created from a combination of elementary or complex chords, or from the sum of both.

Leading smells (leitmotifs).

If we turn to painting, we will find that among the whole mass of paints, lines, colors and shades of any picture, any drawing, among the main and minor details we will find some detail, some segment, which is the main semantic, main point, the leading part of the whole picture. If we remove this segment, the work will sometimes partially, and for the most part completely, lose its meaning, and hence its value.

In music, we have a meaningful sequential series of sounds of different or equal heights that express the main idea of ​​the work, the so-called melody. This melodious sequence of sounds belongs to some scale or mode.

Melody is the main element in music, and not a single piece of music can do without it. Melody is the main semantic part of music and occupies a leading place in a number of elements of musical expressiveness, mainly determining the content of a musical work. Melody is the most important thing in a piece of music, its basis, its melody, which can be sung by one voice. This is a monophonic musical thought expressed.

What is the nature of the leading part or melody in perfumery?

Let's try to sniff an individual fragrant substance, for example, ionone, vanillin, terpineol, and we will find that we have here elementary odors, one note, and no matter how much we sniff, even with a very trained sense of smell, we will not find anything other than this note .

Let's try to sniff for a longer time any fresh flower that has a scent, for example, flowers of lily of the valley, lilac, violet, and make sure that we have here some amount, some combination of odors, of which one particular part stands out - in the overwhelming majority a complex , basically determining the smell of a given flower. This is especially vivid when we smell not just the petals, but together with the cups, leaves, and stem, which have their own odors that are different from the smell of the flower. These odors impart a special charm to a freshly picked branch with flowers, which greatly surpasses the smell of the petals alone. But we remove the petals and leave the remaining parts of the flower (calyxes, stamens, pistils, leaves, twigs), and then all the specific smell inherent in this flower will disappear. At the same time, sniffing a flower, we discover that it does not have a frozen, but a moving scent, in which its elements alternate (oscillate) with great speed, and first one tone or another slips through them. When sniffing the smell of even a single flower or leaf for a long time, you can establish that it changes many times within a minute, but some tone or group of tones stands out especially clearly and, basically, characterizes the smell that is specific to it.

Exactly the same thing is observed with perfumes. A good example is the composition “Violet”, in which the main tone, the main character is determined by a mixture of ionone, methyl ionone (or violet rhizome oil), iris oil and violet leaf oil. Without this complex, the rest of the composition will be inexpressive, it will not smell like violet and its character will be lost.

It is useful to touch upon this fact. Based on the bouquet of wines, tasters determine not only the brand, but also the year of production of the wine. At the same time, experienced tasters establish these points for very rare and old varieties of wine. How can this be explained? To do this, it is best to turn to the wine tasters themselves, and they will answer us that they remember individual smells of wines, even if only once heard, in the same way as we remember individual motives. It goes without saying that repeating one note in a bouquet cannot give anything, since the elements of smell are often repeated in nature, and of course, also in the wines themselves. Only the overall bouquet of the wine with its characteristic shade, especially together with the additional aromas accompanying it, can make it possible to make an appropriate conclusion.

It should be taken into account that bouquets of wines are also natural compositions in some cases, depending on the grape variety and the method of its processing, and in others artificial, created by blending, i.e. mixing several varieties.

Thus, it can be established that in perfume compositions, as in natural fragrant parts of plants, we
we have some kind of core, a central core, which determines the smell of the entire composition, and that the core consists for the most part not of one, but of several elementary fragrant substances (several simple sounds), which are not perceived by us immediately, but in the form of a certain sequence, and which can be called the leitmotif of this complex.

In perfumery, the term “leitmotif” or “leading smell” should be understood as a number of similar or different scented fragrant substances that occupy a leading place and determine the main content, main smell or character of the composition.

This is its own main note or upper register, which, for example in floral compositions, embodies all the aromatic substances that convey the main smell of the corresponding plant. These fragrant substances can be composed of complexes or very rarely from one substance (for example, ylang-ylang oil for perfumes of the same name), moreover, this substance itself is already a natural combination of various individual substances with its own leading smell.

Of course, not every combination of fragrant substances can serve as a leading smell: a random combination of fragrant substances taken together cannot be called a leading smell, just as a random set of sounds, respectively, not connected together and not giving a musical idea, cannot be considered a melody.

Stages of smell.

In perfumery, there are three stages of smell, depending both on the rate of volatilization of the fragrant substances included in the composition and on the phenomenon of adaptation - initial, middle and residual.

The initial smell, or stage I, is considered to be the one that is felt before and shortly after the evaporation of alcohol from the perfume. This step is not decisive.

The most important thing is the smell of perfume in the first 10-12 hours after the complete evaporation of alcohol and volatile substances (benzyl acetate, etc.). At the same time, perfumes must show maximum durability, integrity and beauty, and should not often and dramatically change their scent. At this time, there is, so to speak, a harmony of evaporation. This will be the middle smell, or stage II. The duration of preservation of the central odor depends on the degree of volatility of the fragrant substances that were introduced into the composition. The most durable, such as patchouli, vetiver, sandalwood oils and oak moss extract, absolute essences, crystalline aromatic substances (heliotropin, coumarin, artificial musks), resinous substances (benzoin, styrax) and animal products (natural amber, civet, musk, beaver jet, etc.), depending on their quantity in the compositions, can influence the duration of stage II. The increase in this stage is proportional to the increase in the content of these substances in the composition. The perfumer's task is to achieve the maximum possible duration of this stage.

After this, a period of more or less profound change (decay) of the smell begins, and it is no longer the full bouquet that is felt, but a pleasantly smelling residue, often having little in common with the middle smell, but harmonizing with it. In this third stage the smell is called residual.

Thus, in stages I and II the smell increases, and in stages III it fades away.

From the point of view of practical application, the characteristic note (base) of a perfume is the one that, under the action of body heat (since we are not talking about a special use, for example, as a smoking aid, soap, etc.) in stage II, gives a lasting impression. A test on paper does not achieve the goal, and the actual ability of manifestation, that is, the development of the effect of a mixture of fragrant substances, can only be correctly established in contact with human skin under the influence of body heat. At the same time, some odors are significantly enhanced by the thermal radiation of the body (musk, etc.), others are changed or weakened.

The indisputably established fact of uneven perceptibility of smell when different persons use the same perfume becomes clear. The volatility of the fragrant substance also varies significantly depending on air humidity and atmospheric pressure. This explains the well-known effect of the smell of perfume, often observed not only at the first impression, but also during the further process of volatilization of the constituent parts.

The designations of stages I, II and III are somewhat arbitrary, collective, since one stage never jumps into another, does not pass in such a way that it is immediately felt by the sense of smell, and due to the relative slowness of the transitions, the latter occur gradually, and therefore there are always boundaries between them, elusive to the sense of smell.

The successive change of impressions should be without jumps, smooth and so gradual that the stages of transition cannot be sharply felt by our sense of smell.
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1. Iris oil - oil of violet rhizome.
2. Orange flower oil - fleur d'orange or neroli oil.

Perfumer School. DIY perfume. Basics of aromatic composition. Perfume made from essential oils. Perfume at home. Basics of perfumery. Classic compositions in perfumery.

Part 3. Basics of aromatic mixture composition.

Perfume. In perfumes the concentration ranges from 15 to 30% essential oils. Aromatic substances are dissolved in 96% alcohol. These are the most persistent and long-lasting. Their scent lasts on cotton fabric for up to 30 hours.

Eau de Toilette. Contains up to 5 to 15% essential oils dissolved in 80-90% alcohol. Water makes up from 2-5%. According to its concentration of aromas, eau de toilette and perfume water, sometimes they are not much different.

Basics of perfume composition.

A perfume composition is a complex combination of several natural or synthetic aromas: flowers, fruits, spices, resins... They form one overall harmonious work, in which new shades and nuances of aroma are gradually revealed. Some components play the leading role in the composition, while others place accents and create a complete symphony. A perfume composition is a symbiosis of smell, durability, energy and character. Sometimes compositions are created by mixing classic scents to create new variations, previously unknown...

…It’s interesting that a perfume can include from 3 to 350 components.

French perfumers have identified several classic compositions as standards.

♠ Citrus fruits. They are dominated by citrus essential oils. These are always energetic, fresh, light cooling compositions. They are equally suitable for both women and men. Ingredients: lemon, bergamot, orange, grapefruit, etc.

• Citrus
• Citrus floral chypre
• Spicy citrus fruits
• Citrus woody
• Citrus aromatic

♠Floral. Created using an overwhelming amount of floral scents. These are rose, violet, magnolia, chrysanthemum, tuberose, jasmine, ylang-ylang, lilac, narcissus, neroli, lavender. As a rule, this is a women's perfume.

• One flower - mono-oil
• Lavender flower - lavender perfume
• Flower bouquet
• Floral, green
• Floral, aldehydic, created using synthetic fragrances with a lemon aroma
• Floral, woody
• Floral, woody, fruity - using synthetic fruit aromas.

♠Wooden. Warm, very gentle aromas with an oily feel. Created with abundant use of wood essential oils. In first place are sandalwood, myrtle and Atlas cedar. Cypress and juniper take pride of place. Many woody perfumes contain labdanum, languid vetiver, energetic pink pepper, warm ginger and citrusy notes of sunny grapefruit. Woody scents may include rosewood, patchouli, violet leaf absolute. These scents are straightforward, very long lasting and weighty. Lavender and citrus fruits are added to men's compositions. Woody scents are great for men, although in our fast-paced business age, many self-confident women opt for perfumes with woody undertones.

♠Fougeres or ferns(from French) Fougere scents actually don’t smell like ferns at all. The fern family has no scent. Rather, it is a “myth” created by perfumers. The famous perfume “Royal Fern”, released at the end of the 19th century, laid the foundation for the direction of Fougere fragrances. The compositions are distinguished by bitterness and the presence of kumar aromas. The bitter undertone is achieved by using wormwood and oakmoss as the main notes to create a vegetal undertone. This composition includes lavender, bergamot, vanilla, coumarin (a fragrant substance with the smell of cut grass). Recently, sandalwood and marjoram, cinnamon, tarragon, coriander, musk, amber, rosemary, Atlas cedar, and even sugary geranium (pelargonium) have been added to the line of fern perfumes. Fougere aromas are considered to belong to the masculine part of the population.

• Fern
• Fern, amber, soft
• Fern, floral, amber
• Fern, spicy
• Fern, aromatic

♠ Chypre. In 1917, François Coty created the famous “Cyprus” fragrance. This is a feminine fragrance, where, against the background of a floral composition, bergamot, patchouli, cistus, labdanum and oak moss appeared, as well as the substance quinoline with a leather aroma (now it is not used due to toxicity ). Perfume “Cyprus” gained wide popularity, and the name became a household name “Chyprus - Cyprus”. Chypre scents are always marked by the first whiff of bergamot and lemon, followed by the aroma of patchouli with jasmine or sandalwood, and of course, the last note in the accord is wormwood and oakmoss. This is a composition with a hint of bitterness and the aroma of an autumn forest. . Chypre perfumes are suitable for introverts, for people whose inner world is deep, unpredictable and full of emotions and experiences.

♠Amber. Oriental scents. These are ideal compositions for use at any time of the day. Amber compositions are distinguished by softness and delicacy. A combination of vanilla, powdery cistus-labdanum with pronounced animalic notes of amber.

• Amber, floral, woody
• Amber, floral, spicy
• Amber, soft
• Amber, citrus
• Semi-amber, floral

♠Leather. As a rule, these are compositions for men. There is a dry smoky aroma of tobacco, leather, woody notes of sandalwood, cedar and amyris, juniper, birch bark and lime and, of course, head floral shades.

• Leather
• Leather, floral
• Leather, tobacco

Common compositions.

Floral-Oriental: Compositions are created using floral and oriental notes. There is also a spicy mixture of cloves and cinnamon, jasmine, violet, musk, and sandalwood. They contain seductive musk. This perfume is intended for evening receptions, social events and... perhaps for business meetings.

Oriental or eastern. Always a very sweet, tart, very sensual, oriental-tinged perfume. They contain vanilla, sandalwood, frankincense, Copai and Peruvian balsam, myrrh, galbanum, guaiac wood, etc. Evening, trailing perfumes that are suitable for the cold time of day. This is a heavy, rich, very erotic, sensual scent. Women's oriental scents are diluted with floral and spicy essential oils. Oriental fragrances for men add marine shades and citrus fruits: lime, lemon, bergamot.

Greens. These compositions include lavender, rosemary, galbanum, hyacinth, juniper, violet leaves (abusole). This is a fresh, cool scent that smells like the moisture of morning dew. Green scents are very suitable for young girls with blond hair. Green notes in perfumery are achieved by using, cis-3-hexenol and its esters, triplal,

Marine or oceanic. It is impossible to reproduce these compositions with the help of essential oils in the same way as they are created with the help of synthetic components. The aromas of this family are entirely synthetic. The name itself speaks about the nature of the aroma - it is the smell of the sea, the cry of seagulls and the sea breeze... a tincture of fucus (algae) can help, but in small quantities.

Fruit. Created from fruit aromas. Unfortunately, in aromatherapy you will never find pear, apple, papaya or peach essential oil... these are not essential oil plants. Here you can use orange, lemon, grapefruit in small quantities, otherwise the aroma will be classified as citrus. ... and, in extreme cases, fragrances (synthetic substitutes identical to natural aroma). In this case, your perfume cannot perform a therapeutic function. You must be prepared for this. Fruit perfumes are always feminine scents. In some cases, you can use alcohol tinctures on fruits and berries or use synthetic aromas - fragrances. Buy fragrances>>>

Spicy. If you want to create an evening perfume, then spicy components will come in handy. The participation of cinnamon, cassia, anise, ginger, cardamom and cloves will help create a slender erotic image of a purposeful temptress for a woman. Spicy compositions are languid, thick, rich, they attract and carry you along.

Aldehydic. These compositions in perfume production are synthesized from chemical compounds - aldehydes. These are always bright, deep and rich aromas. A large number of aldehydes are contained in essential oils with a lemon aroma (citronella, lemongrass, lemongrass, litsea cubeba, lemon balm, etc.).

Perfume with pheromones. Manufacturers of perfumes with pheromones claim that they add natural animalic substances, but as a rule these are synthesized molecules. Perfume mainly consists of aromatic substances and essential oils - aphrodisiacs. You can create your own composition from essential oils with the properties with added molecule and believe me, it will turn out no worse.

NextPart 4.

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