A New Approach: Reading Music and Playing the Violin

http://www.bebo.com/mikelsmethod

Michael Slater

Abstract Excerpt

I have devised a method by which virtually anyone can interpret written music. By demanding not just the best of both worlds but the best of every concievable one and so taking from two established methods that which suits my temperament, I will then introduce that which I find lacking in each and at every junction insisting, as all things in nature tend, to take the path of least resistance and so moving forward with this in mind I will become an ergonomist of this intangible medium...There must be an alternative to enthusiasm sapping repetition!

-Introduction-

"...Ilúvatar said to them: ‘Behold your Music!’ And he showed to them a vision, giving to them sight where before was only hearing .... as they looked and wondered this World began to unfold its history, and it seemed to them that it lived and grew..."-The Silmarillion, J.R.R. Tolkien

I have devised a method by which virtually anyone can interpret written music in the form of adjusted standard notation. It fosters heightened creative thinking and will provide food for thought for non players and professionals alike. I am an amateur violinist with no formal instruction and see this, not as a disadvantage but rather, as the most valuable vantage point for learning to teach others.

-Standard Notation and Tablature-

"The written language of music is at once indispensable yet hopelessly

inadequate in conveying every detail of a musical concept...-Composer's Note from 'Brushed with Blue', Op. 55, by Fredrick Pritchard[2] (pub. Effel Publications, 2002)

-Standard Notation, concerns itself with the representation of the concepts of the music itself, as though it were a seperate entity from the task of playing and gives no inkling of physical instruction. It mainly provides us with time and frequency based information, ie. rhythm and pitch and once mastered S.N. becomes a powerful tool. Besides its many uses, the moments when the notes stand up off the page and sound themselves can be breathtakingly beautiful, unfortunately the skill required to read such notation and how we then apply this to an instrument are the first and greatest difficulties we encounter as musicians.

-Tablature, provides us with mechanically applicable information from the instruments frets point of view, ie. where to place your fingers on an instrument rather than which pitches to play, this physical approach is highly practical but lacks important rhythmic cues. It has been utilised in some form or another for almost a thousand years.Imagine a 1 stringed intrument, the tab states -[--0--2--4--5--7--]- and so we sound the 'open string' for '0', the second fret for '2', fourth fret for '4' and so on. The tab. for Twinkle, Twinkle, Little Star for violin-

E-----0-0-2-2-0--------------A-0-0-----------5-5-4-4-2-2-0D----------------------------G----------------------------

Each line indicates the string to be played and which (imaginary)fret(s) to place your finger(s) at is(are) implied by the numbers. I am unaware of anyone apart from myself who uses this for violin. Tab. in general is sometimes scoffed at by musical theorists, who will argue that it is primitive and hinders analytical thought, they have no doubt had the classical methods crammed into their heads for the best part of their lives and like so many fundamentalists have blinkered themselves to alternate possibilities. I would counter saying that the standard method is of no avail for a great number of individuals who having not yet learned to play an instrument are expected to do this and simultaneously learn to read S.N., by this fact alone you cannot dispute its failings-surely the system should suit

the user. Utilising tab your ear will develop naturally, you'll be playing faster, composing earlier, enjoying yourself and entertaining others sooner. I personally demand not just the best of both worlds but the best of every concievable one and so taking from these two methods that which suits my temperament, I will then introduce that which I find lacking in each and at every junction insisting, as all things in nature tend, to take the path of least resistance and so moving forward with this in mind I will become an ergonomist of this intangible medium, hence, reshaping convention to suit my predisposition.

-Adapted Violin-

On the violin there are no frets, hence I propose that the novice tunes their instrument via an electronic tuner, this ensures a stable and replicable foundation. Fret markings can then be attributed with thin strips of tape or correction fluid* etc. If the students ear is undeveloped, the markers should be applied by a skilled individual. I personally prefer to mark the violin chromatically, that is every half note-E,F,F#,G,G#,A,A#,B,C,D#-(see:fig. coming soon)

On a four stringed instrument such as the violin we now have the makings of an alphanumeric-dual axis grid<1>, not unlike a chess board, map etc.(see:fig.coming soon)Given 'G' (the lowest pitched and thickest string on the violin, standard tuning) and the number '2'-a student will, granted even minimal education, be able to find the note 'A' with ease.(see:fig.coming soon)

*Adhesive tape (I recommend masking tape) should be taped to a cutting matt where you can easily make 1mm wide strips of the nescessary length and de-tacked (attach and remove from a surface repeatedly) slightly so that it doesn't leave a horrible sticky residue. Correction fluid wears off with playing, however I recommend that you do not use it on an instrument of any great value and obviously I accept no liability for any modification you decide to undertake.

<1>(see bebo book:Improve Your Memory, chap.-'Fundamental Geometry..'http://www.bebo.com/Prof

ile.jsp?MemberId=4766155729)

-Musical Colours;In Theory-

-Musical Colours-To reduce the workload on the student's brain I suggest an even simpler indicator of string choice-colour. The combination of elementary stimulus and basic numeracy have instant impact and significant cognitive benefits*.Since there are only four strings we have a choice of colours at our disposal. I omit yellow immediately for its lack of contrast againt white paper, indigo next as it is less definable and is thought to have been added by Sir Isaac Newton for 'mystical' reasons-involving the number '7'. Red, orange, green, blue and violet remain.-I make immediate connection between light and sound, in terms of frequency and wavelength.-Musicians speak of 'bassier' notes sounding 'warm','woody',fat and 'round' whereas 'trebly' notes sound 'cold', 'metallic', 'thin' and 'sharp'.These same characteristics can be observed in light and so I suggest a marriage of mutual convenience.

-In Theory-The 'G' string being the 'warmest' and 'fattest' sounding is represented by the colour Red (the red used should be significant tonal difference and hue to orange), there is also an underlying connection between the wavelengths of sound and light(exp.). I feel that Orange is too close a partner to Red and when diluted with yellow, too indistinct, so Green is the next choice in accordance with the visible spectrum. And so G=Red and (next string) D=Green, hence A=Blue and E=Violet. (see: fig. below)

The same argument for differentiation could be raised against Blue/Violet and Blue/Green but decisions must be made and it is through the tutor of my own experience that I find there is greater range in the physical pigments of these chosen colours, as we are not dealing with pure light but the nature of printed dyes.My main proposition is- if your going to represent something as variant as music with symbols or abstractions you are surely best to use natural and simple ones. What is more primal, affecting and suitable than colour? Hence,

now the string to be played is indicated by colour.

*(see Bebo book: Improve your Memoryhttp://www.bebo.com/Chapters.jsp?ChapterId=4799518058&MemberId=4766155729)

-Early Form-

So the note 'A' on the 'G' string appears-(see:fig.3.1)This colour/string bond manifests itself immediately in any student upon first instruction. The student may even begin to visualise various fingered notes as varying tones of its root colour (see:fig.3.2). Such synaethetic behaviour is highly desireable in every creative field and has been reported by great musicians, scientists and artists etc. Just as young children learn thier mother tongue very quickly, through daily immersion , the apt student will 'speak' music fluently as there is no option for the sighted but to be bathed but to be bathed in the colours of the world every day. This will lead to music being created through immediate stimulus. Thus the world around us can be described in wholly new and individual terms, and I have only gleaned over what concerns the conducting of musical notes. Of course we do not yet have a fully functional model. I recommend this elementary stage to be the first step and antidote for those who find standard notation a great vexation.

Fig.3.1

Fig.3.2-coming soon

-Notes on Rhythm and System-

The simplest parts of standard notation to impart are the rhythmic durations. Through clapping and other percussive exercises, students of every calibre grasp such linear concepts impusively and by ear. It is no exaggeration to say there is something innately human about rhythm.The system, although based on the close physical relations of sound and light waves, is certainly artificial but so are all languages, mathematics and music itself, as nearly all western music is based on a tempered system whereby various notes are sharper and flatter than nature intends. Each

sequential note being theoretically the same 'distance' as the last(equal temperament), this compromise allows us to play in every key.

-Hybrid; Conclusion-

-Hybrid-The final coup de grace is the combining of the first precept of Colour Co-ordinated Notation and standard notation. Any given note on the musical staff simply needs to be coloured and numbered accordingly.

-Conclusion-This allows for the modification of existing scores through either highlighting and annotating or of course through new music or revised editions of already published material-having the commercial attraction (see:figure below).All this will lead to the subconcious learning of standard notation. Therefore the system dispenses of itself when the student has absorbed it, leaving them in the highly advantageous and enviable position of being able to read music intuitively and flawlessly without mentioned aid/method.

Notes

This book is especially tailored for musicians like myself who have grasped the fundamentals, and now realise there must be an alternative to enthusiasm sapping repetition. I assume basic musical concepts as read, however please feel free to comment on this or any other aspects that you wish to be modified.

-Where a note is repeated consecutively, the notation will be adapted (coloured, numbered etc.) only in the first instance.

-For absolute beginners I suggest removing all but one string on the violin then as you progress in confidence and ability add another. It is important to explore the possibilities of each step before moving up.

-I shall investigate the full implications and applications of my method as it is and also augmented by the addition of shapes, symbols, lines and icons exhaustively in-

Illuminated Shapes and Reflected Soundscapes(http://www.bebo.com/musicalcomp)&Improve Your Memory(http://www.bebo.com/improvememory)

!Let no individual attempt to learn where there is not first wanting and curiousity. Forced learning is a waste of time, the student forgets all as soon as their attention has the freedom to gaze upon immediate concerns and the various ins and outs of humanitaria!