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"...Ilvatar 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 violinE-----0-0-2-2-0-------------A-0-0-----------5-5-4-4-2-2-0
D---------------------------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 ViolinOn 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 ColoursTo 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 TheoryThe '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 Memory
http://www.bebo.com/Chapters.jsp?Chapte
rId=4799518058&MemberId=4766155729)

-Early FormSo 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 SystemThe 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-HybridThe final coup de grace is the combining of the first precept of Colour Coordinated Notation and standard notation. Any given note on the musical
staff simply needs to be coloured and numbered accordingly.
-ConclusionThis 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
inIlluminated Shapes and Reflected Soundscapes(http://www.bebo.com/musical
comp)
&
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!