Melbourne Music Theory Pt. 2 - A New Approach to Rhythm.

In the Western music tradition, rhythmic duration is typically organised by halving the duration of a note. For example, a minim or half note is worth half the duration of a semibreve/whole note, a crotchet (quarter note) is half of a minim, and a quaver (eighth note) is half of a crotchet.

There are some exceptions such as triplets, tuplets, and adding half of a note's rhythmic duration with a dot. But the fact still stands that rhythm is treated as divisions of each other.

The way rhythmic duration is counted in Melbourne Music Theory is not based on a system of division, but of addition. Divisions are also possible, and I will get to that later in the article. But for now, understanding the progressive duration of rhythm according to units of duration will lay down the basics of the system.

As MMT aims to be a descriptive and discretionary theoretical music framework as opposed to the prescriptive and systematic framework of traditional theory and notation, time signatures are seen as unnecessary much like key signatures in MMT. I believe that when the musician is free to discover how things sound and feel for themselves without tonality and rhythm being dictated, that more musical freedom and control is achieved.

MMT uses the same symbols as traditional notation, but they are assigned different values. Here is a table that shows the base values, which can then be modified in various ways to add and divide them as I will address later in the article.

And this table demonstrates how by adding +1 or +2 units of duration to a note gives us a spectrum of notes that rangs from 1 to 18 units of duration:

Much like traditional notation, notes can be tied together to achieve greater duration.

As mentioned previously, notes can still be divided and even multiplied. This is done in a similar fashion to how tuplets are traditionally given a bracket over the notes and a number that shows how much to divide those notes by. The symbols used for division are as follows:

The reason I chose these symbols in particular is quite transparent. The symbol for 1/2 is simply a circle split in half. The symbol for 1/4 is a circle quartered. The symbol for a triplet division is a Y, which looks like three even spaces divided by three lines.

Having these modifiers means that when using notes that are only one unit of duration, you can continue to divide the note so you're not left with a duration of 1 as the smallest unit available.

There are modifiers for multiplication as well. The maximum note available is a dotted semibreve which is worth 18 units of duration. With these modifiers, an even greater rhythmic palette is achieved.

The reasoning behind the choice of these symbols is also quite straight forward. The symbol for doubling the rhythmic duration of a note(s) is two circles, referring to the notes being double in rhythmic value. A triangle has three sides, denoting three times the value. A square has four sides to symbolise four times the value. And the vertically interlocking diamonds represent eight times the duration as it is the combination of two four-sided shapes.

These are the basic explanations of how all the rhythmic counters and modifiers work within MMT. Combined with the system of pitches, intervals, and their positions on the stave, this makes a complete system of notation and descriptive music theory for musicians to discover and create music in a purely discretionary manner.

In the near future I will make some videos, and potentially some exercises to help one acquaint themselves with MMT. I will also cover the benefits of using MMT as opposed to traditional theory and notation in the next article.

Melbourne Music Theory Pt. 1 - The Basics of the New Stave, Pitch, and Interval Naming Conventions

Regarding my last post, this article will touch on the new naming conventions for pitches and intervals, and what they look like on the seven-line stave that I've created.

The naming convention is quite simple. Instead of notes going from A to G with sharps, flats, and enharmonic equivalents, they just go from a to l. a is located where E would usually be and there is good reason for that when considering their location on guitar, piano, and the stave.

Take note that the pitches in MMT are written in lower-case letters to distinguish them from that of traditional theory.

Here's a little table that shows the equivalent pitches of Melbourne Music Theory in comparison to that of traditional music theory:

The reason I chose E to be referred to as "a" works for a few reasons:

1. The lowest note on a guitar is E.
2. The grand stave with its ledger lines in MMT fits exactly four octaves, the exact same range as a 24 fret guitar.
3. The location of "a" on the grand stave occurs at the bottom and top ledger lines, and the exact middle of the stave.
4. The grand stave in traditional notation with a similar amount of ledger lines (I'll get to that soon) fits a range of four octaves and a fifth, beginning at A and ending at E. So for piano, only a fifth's worth of tones are sacrificed in notation.

On to the stave. It is a seven-line stave that is aligned with the chromatic scale. This means that there are no key signatures or accidentals, every position on the stave is always the same pitch, and intervals always look the same.

Here is a diagram that show the grand stave with ledger lines, and the location of "a" across its range:

The convention for ledger lines is that there are three ledger lines at the top and bottom. In between the upper and lower staves there is another lines that runs straight through, with two ledger lines on either side of it.

On to intervals. Instead of seeing intervals from the perspective as notes that are either diatonic or alterations of them (ie: Major 2nd or Major 2nd), each interval is just given a number from 1 (tonic) to 13 (octave). This table shows how the interval naming scheme in MMT relates to that of traditional music theory:

The interval's number in MMT looks the same as the number in traditional notation. For example, a 3rd interval in traditional notation looks like the next line/space in relation to the line or space that the root not is located respectively. A MMT interval of a 3 also looks like this, but its value is different (as shown on the table, a 3 interval is the equivalent of a Major 2nd).

This is uniform though, you don't have to mentally calculate if it's a minor or major 3rd in relation to key signature or position within the scale. A "3" interval is always two semitones no matter what. In fact, the number directly correlates to how many semitones there are from the root note to that interval. It's incredibly simple.

Here's a diagram that shows how the same "shape" on the stave always results in the same interval.

One last thing about the stave before I work on the upcoming article on the new rhythmic system is that instead of the prefix of a bar including a clef, key signature, and time signature, all that is needed is a Roman numeral that corresponds to what octave the stave is in. For example, a V (five) means that the "a" in the middle line of that stave is the equivalent of E5 or the E above middle C.

Therefore a grand stave that covers the entire range of the guitar would look like this:

The piano equivalent would look like this:

To extend the range of the stave to reach the further octaves on the piano, one just simply has to write a new Roman numeral corresponding to the octave they desire on the stave.

I hope this stuff makes sense for everyone. And I look forward to writing the next article on how rhythm is organised.

I Invented A New Music Theory And Notation Framework!

I was playing bass just a few weeks ago and thought to myself how odd it is to count intervals with conventional theory. They say that music theory is "descriptive, not prescriptive" but I'm of the opinion that is a lie.

Western harmony favours diatonicism, everything is seen from the lens of the major scale. There are twelve tones per octave in our Western music tradition but they are numbered one to seven with modifiers such as major, minor, diminished and augmented. This locks a lot of musicians into a predominantly diatonic mindset of creating music and it becomes difficult to access tones outside of the diatonic framework.

The stave is also uneven in a few ways. Its organisation around the major scale means that intervals displayed on the stave aren't uniform. What looks like a major third in one position or key signature may actually be a minor third. This wouldn't be an issue if the scale that the stave was based on the chromatic scale. It is also uneven in the sense that from first line to fifth line, the range is a ninth rather than an octave.

So, I developed a new approach to music theory and notation. Traditional theory and notation has too many unnecessary complexities that make it difficult for beginners to learn, and requires too much cognitive processing. I will be writing a series of articles that explains exactly how my new system works, and also producing some tutorials and explanations on my YouTube channel.

I call it "Melbourne Music Theory". I actually don't know how Nashville Numbering works but I thought naming my method after my own city (which just so happens to be considered the art capital of Australia) was appropriate and similar to how Nashville numbering is named after that city.

What you can expect in these next few articles and upcoming videos are these:

• Better naming conventions for pitches and intervals.
• A new stave and ways to navigate it via symmetry.
• A new rhythmic system.
• The benefits of using this system compared to traditional theory and notation.

I'm looking forward to sharing this as a contribution to the music world. A web platform is also in the works where you can learn, explore, and create music with this new framework. Big things happening haha.

Learning theory implicitly. And my current pursuits in musical exploration.

I'm big on journaling. Whether it's about my reflections on musical exploration and direction, planning my goals, expressing what's on my mind as an outlet, or anything else of that sort, I value writing as one of the most important practices for progress and development in any given field. The supporting evidence through studies and statistics regarding the improved performance between writers and non-writers in their given fields are everywhere. If you're not journaling, you really need to - especially if you aren't seeing any progress despite your best practical efforts.

A novel thought occurred to me recently. Instead of journaling in English, it's possible that I express my thoughts in notation instead. I do feel some kind of resistance to this practice, as I value writing in natural language so much and feel that I rely on this practice so much to record ideas in a way that information can be interpreted objectively.
To give an example of what I mean, imagine the reflections I would like to record are something like "focus on emotional expression and personal conviction in my practice", but instead of writing that in English I decide to write musical phrases with that intention instead. It may not be possible to return to those phrases a few months later and interpret the same meaning that I originally intended.

I've decided to go through with this anyway. I'm convinced that this practice will really improve fluency in notation on so many different levels. I always have a lot on my mind, and thoughts reach their full potential when they are put into action, so what better way to utilise this potential musically by translating all of my thoughts from English into music?

New direction for this website.

As much as I would love to continue providing articles on developing musicianship, we do live in a moment in history where people are more eager to get their information from online videos rather than written articles. For this reason, I've decided that any future opinions I have on musicianship will be posted to my Youtube channel.

Drafting and editing these articles was a very engaging process, a lot of thought goes into sharing my ideas so I think it's in everybody's best interest that I choose to publish these sorts of things on a more popular platfform.

The blog portion of this website will still be in use though. As I plan to post things related to the creative process behind my compositions, what I'm currently working on, and general news.

Have fun!

Adaptable Practice Plans - Part 2

This is a simple follow up on my previous article. I had demonstrated how to approach each section of the practice plan, but I thought some further clarification is necessary on how to develop the plans for upcoming sessions. I have also made a print-out copy of the practice plan ready to fill in for your next practice session(s) which you can download here or use as a reference to make your own by hand.

Each category in the main practice plan is divided into sub-categories listed numerically, alphabetically, and in roman numerals.

For example, the section on arpeggio exercises is 4-D-II. 4 is Technique/theory, D is the sub-category of technical exercises, and II is the sub-sub-category of arpeggios.

So, to develop your upcoming plans. It helps to maintain this convention. So here is an example of the plan I have written for today's upcoming practice session:

1. Repertoire:

    A) Classical - Prelude in C Major, Solfeggietto in C minor.

2. Composition:

    A) Melody - Write a melody in D Major.

    B) Harmony - Write harmonies according to a 2-5-1 progression.

    C) Rhythm - Practice writing with tied and dotted notes.

3. Aural: 

    A) Chord progressions - Egao by Ikimonogakari, and Girlfriend by The Pillows.

    B) Melodies - Same as A.

    C) Riffs/phrases - The interlude riff from Vortex by Megadeth.

    D) Transcription - The intro melody to Rainmaker by Iron Maiden.

4. Technique and theory:

    A) Transposition and modulation - Solfeggietto in C minor, transposed to F minor.

    B) Harmonic analysis - Write the chord degrees of The Other Half by Within Temptation.

    C) Etudes - Czerny's School of Velocity exercise 1.   

    D) Technical exercises

        i. Scales - Write an exercise in D harmonic minor

        ii. Arpeggios - Write an arpeggio exercise using a DminMaj7 arpeggio.

    E) Sight-Reading - Pieces from Mikrokosmos by Bela Bartok.

    F) Metronome:

        i. Tempo - 75 BPM.

        ii. Time signature - 5/4.

        iii. Subdivision - Quavers.

5. Mental exercises:

    A) Visualisation.

        i. Instrument - Visualise the music in my mind on piano and guitar.

        ii. Notation - Visualise the music in my mind being transcribed, extra emphasis on tied and dotted notes.

        iii. Performance - Visualise myself busking.

        iv. Career - Visualise myself teaching one-on-one lessons.

    B) Hearing music in your mind - Allow any music to come to mind. Visualise it on piano, guitar, and being transcribed to notation.

    C) Positive affirmation - Remind yourself: "I love transcription, it is fun and easy", "Practice makes everything fun and easy".

    D) Journaling:

        i. Reflection - Write whatever is necessary post-practice.

        ii. Goals - Write thoughts on achieving fluency in reading, writing, and transcribing in musical notation.

    E) Imaginary practice - Imagine, visualise, and hear myself fluently reading, writing, and transcribing music.

Adaptable Practice Plans - Part 1

I recently devised a general practice plan, not only for myself but for others. You can download it here. This may not seem like much at first glance, but it is really something special when it is used as a framework to develop more specific practice plans adapted for each practice session.

In this article, I will demonstrate how to use this practice plan to optimise your individual practice sessions. It's pretty simple, as it essentially just boils down to writing down what you plan on practicing for your next session, and notating anything relevant.

Section 1 "Repertoire":

For repertoire, four categories are listed: Classical, jazz, music you like, and your original compositions. You can add or remove what ever style of music you prefer to work on, these are just suggestions that promote well-rounded musicianship.

An example of repertoire choices for an upcoming practice session could look like this:

• Classical:
• Solfeggietto in C minor by C.P.E Bach.
• Prelude in C major from The Well Tempered Clavier.
• Music I like:
• Plastic Love by Takeuchi Mariya.
• The End of This Chapter by Sonata Arctica.
• Originals:
• The Young Boy and the Little Muse.
• I'll Be Your Friend
• Happily Ever After

Those with a keen eye may have noticed I didn't choose any jazz repertoire like the general plan suggests. I purposely chose to omit something just to show that you don't need to practice every single thing every single time. It is up to you to create your own plans that work best for you in that given moment.

To augment your study and practice of new repertoire I highly suggest notating challenging passages and phrases to analyse, alter, and transpose to other keys.

Section 2 "Composition":

Composition doesn't need to be something complex. Just notating a bar or two of melody, a rhythmic pattern, or working on a chord progression, is a great start. With regular practice, this exercise naturally progresses into composing passages with greater depth, and that in turn progresses into composing entire pieces of music.

Here are some examples of what one might compose for the three compositional categories of melody, harmony, and rhythm:

Example of melodic composition:

Example of composing harmony:

CMaj7 - - - | Am7 - - - | Dm - - - | F - - - |

Example of composing rhythm:

Section 3 "Aural":

This is quite straight forward. Just try to try and translate what you hear musically onto the instrument, as a chord chart, a lead sheet, or as pure notation. 

Just a little bit of this practice often, in conjunction with other fields of practice, will sharpen your aural and transcription skills significantly.

Of course, this can't be done without choosing a song or a piece to study aurally. So it is vital that before your practice session, you write down the piece(s) you desire to study aurally in your practice journal as a reference.

Section 4 "Technique and Theory":

Transposition, harmonic analysis, etudes, and sight-reading practice are pretty straight forward. As usual, it is ideal to journal and notate your findings and ideas. Some examples could look like this:

Transposition examples:

• Play a minor 7th chord in all keys.
• Transpose the Prelude in C Major to D Major and F# Major.

Harmonic analysis example:

• Find the respective chord degrees for your original compositions.

Etude practice:

• School of Virtuosity Op 365 by Czerny - Exercise 3.
  

Sight-reading practice:

• Mikrokosmos by Bartok.

For technical exercises of scales and arpeggios, I highly suggest coming up with your own. This can be as simple as one or two bars of a scale or arpeggio pattern. I also suggest writing it in one key of your choice, but practicing it across all keys and discovering the most natural fingerings for each pattern.

Here are some examples:

A scale exercise in C Major:

An arpeggio exercise in C Major:

Metronome practice is also quite straight forward. Just choose a piece you have some familiarity with and alter the tempo. Faster is not necessarily better, as slowing down a piece may often reveal passages in which you have poor technique or excess tension which may then be resolved in order to play it more comfortably and with greater speed when it is appropriate.

Currently, I am working on my technique for Solfeggietto to ease the tension, build comfort, and increase the speed of my performance. This is achieved not only by incrementally increasing the tempo on the metronome, but also by playing at a slower tempo to refine the areas that I often rush and play hastily.

Improvising with the metronome is also good. Experiment with new time signatures like 7/4 and subdivisions like pentuplets. If you can't play it, slow it down.

Section 5 "Mental Exercises":

No access to an instrument, music, or pen and paper? No worries, just imagine it.

You can even plan ahead by writing in your practice journal what you plan to visualise and imagine hearing in those moments when you have no instrument or paper present.

If you're a multi-instrumentalist, you could perhaps choose to focus on visualising just one instrument for the day, or several instruments.

You could also choose to visualise notating music, it helps to have some kind of guide on what you will notate. You could plan "today, I will visualise quavers exploring the C major scale on the bass clef in 4/4 timing, and I will imagine that I can hear the notes that I choose in my mind".

Even your goals and career can benefit from visualisation exercises. Your next performance or music lesson will go along so much smoother if you can visualise and imagine it being fun, engaging, and going smoothly. Try to keep an open mind.

Positive affirmations are great to combat potential errors in our self image and impostor syndrome. Simply reminding yourself positive (but true) statements like "I have been practicing regularly, I am improving, and my goals are being achieved" is a great trick to wire your brain into being more motivated and less worried about poor performance.

Be positive, but be realistic. Nobody likes somebody who affirms they can achieve anything without putting in the practice.

Keeping a music journal is vital. If you aren't journaling your reflections and pursuit of goals, you are robbing yourself of a goldmine of insight, control, and progress. Please, I beg aspiring musicians who do not yet journal to embrace this practice, you will not regret it.

And lastly. Any area of your practice can be done mentally. Whether it is repertoire, composition, aural, or whatever. It will give you something better to do than gaze at your phone while on public transport.

Advice to Young Musicians - Robert Schumann

In the digital copy of Schumann's "Album for the Young", it introduces the pieces with a selection of quotes from Schumann.

For the sake of sharing these great insights, I have decided to post them here. My favourite quotes at the time of posting this are in bold text.

ADVICE TO YOUNG MUSICIANS

BY

ROBERT SCHUMANN

• The cultivation of the ear is the most important. Labour early torecognise notes and key. Endeavour to find what notes the bell, the window-pane, and the cuckoo express.

• Practise assiduously scales and other finger exercises. There are, however, many people who fancy they attain perfection by spending, even until an advanced age, several hours daily in mechanical execution : that is as if a person should exert himself to repeat his A, B, C, faster and faster. Employ your time better.

• " Mute " instruments, as they are called, have been invented. Try them awhile, just to see how useless they are. The dumb cannot teach speech.

• Be steady in keeping time. The performance of many virtuosi is like the gait of a drunken man. Follow not their example.

• Learn betimes the fundamental laws of harmony.

• Be not deterred by the words Theory, Thorough-bass, Counterpoint, &c. ; approach them as a friend, and their response will be most cordial.

• Never jingle. Play with ever-freshened eagerness, and always finish the piece.

• Slowness and hurry are both great faults.

• Take pains to play easy pieces well and prettily ; better this than a mere ordinary performance of difficult ones.

• Always keep to a well-tuned instrument.

• Be not satisfied with knowing your piece manually ; you must also be able to hum it without the aid of the instrument. Stimulate your imagination, so that you may retain firmly in the memory not only the melody of a composition but the harmony which accords with it.

• Exert yourself, even although you have but little voice, to sing at sight without the help of the instrument ; by this means the quickness of your ear will constantly increase. But if you have a good voice, neglect no opportunity of cultivating it ; consider it as the most valuable gift that heaven has conferred on you.

• You must not be content until you succeed in reading music without playing it.

• When playing, be unconcerned who hears you.

• Play always as if a master listened.

• Should any one place a composition before you to play for the first time, read it over previously.

• If you feel exhausted after having done your daily musical task, strain your faculties no farther. Better to rest, than work without inclination and cheerfulness.

• As you grow older, play nothing merely because it is the fashion. Time is precious. One must live a hundred lives to learn everything that is good.

• Children do not become healthy men by being fed on sweetmeats. The mental as well as the bodily fare must be simple and strengthening. The masters have sufficiently provided for the former ; adhere to them.

• Mere passages change with the time ; they are only of value when fluency leads to higher objects.

• You must not circulate bad compositions ; on the contrary, you must help with all your might to suppress them.

• Neither play bad compositions, nor, unless compelled, listen to them.

• Never strive in execution for the so-called bravura. Try to produce in a composition the impression which the composer had in view. More should not be sought. What is beyond is caricature.

• Regard it as something abominable to meddle with the pieces of good writers either by alteration, omission, or by the introduction of new-fangled ornaments. This is the greatest indignity you can inflict on art.

• Respecting the selection of study pieces, ask older musicians, and you will save much time.

• You must gradually make yourself acquainted with all the most important works of all the celebrated masters.

• Be not led astray by the approbation which great virtuosi, so-called, often secure. Esteem the approbation of the artist more than that of the multitude.

• All that is merely fashionable goes out of fashion in its turn; and if you continue to cultivate it till you are old, you will become a simpleton whom no one values.

• Much playing in society does more harm than good. Scrutinise the company ; but never play anything of which you feel in your conscience you would be ashamed.

• Neglect, however, no opportunity of practising duets, trios, This gives freedom and compass to your execution. And accompany singers frequently.

• If every one would play first fiddle, no orchestra could be got together. Let each musician keep his proper place.

• Be fond of your instrument, but without the vanity of considering it the highest and the only one. Remember that there are others, and quite as good. Remember also that there are singers, and that the most elevated music finds expression through the choir and orchestra. 

• As you grow older, have more to do with scores than virtuosi.

• Play assiduously the fugues of good masters, especially those of Job. Seb. Bach. Let his " Forty-eight " (Fugues and Preludes) be your daily bread ; you will then surely become an able musician.

• Seek, among your comrades, those who know more than you.

• Read poetry with diligence, as a relief from your musical studies. Take frequent exercise in the open air.

• Much can be learned from singers, but do not yield them unlimited credence.

• The world is large. Be modest ! You have not yet discovered and contrived what others before you have not already imagined and found out. And even if such should be the case, look on it as a gift from above to be shared with others.

• The study of the history of music, seconded by hearing the actual performance of the master-pieces of different epochs, will prove the most rapid and effectual cure for conceit and vanity.

• A charming book on music is Thibaut's treatise on ''The Purity of Musical Composition." Read it often, as you get older.

• When you pass by a church, and hear an organ played, go inside and listen. Should you be fortunate enough to obtain a seat at the instrument, try your small fingers on it, and be amazed at this omnipotence of music. 

• Neglect no opportunity of practising on the organ. There is no other instrument which inflicts such prompt chastisement on offensive and defective composition or execution.

• Sing assiduously in choruses, especially taking the middle parts. This forms the good musician.

• But what is it to be a musician? Not to have the eyes bent on the notes, and play the piece laboriously to the end ; not (supposing anyone happens to turn two leaves instead of one) to stick in the middle, without being able to go on. You are, however, a musician when with a new piece you almost divine what is coming, when you know an old acquaintance by rote—in a word, when you have music not only in your fingers, but in your head and heart too.

• But how does one become a good musician? Dear student, the chief thing, a good ear and quick comprehension, comes, as in all things, from above. Still, the natural ability may be cultivated and enhanced. Not by secluding yourself for days together and prosecuting mechanical studies, but by holding enlarged living musical intercourse—frequent engagements in choir and orchestra.

• Acquire an early and accurate knowledge of the compass of the human voice in its four principal registers ; watch it well in the choir ; study closely in what intervals lies its greatest power, in which others it glides into the soft and tender.

• Listen most attentively to all popular songs ; they are a mine of the most charming melodies, and afford an insight into the character of different nations.

• Apply yourself, as soon as possible, to reading the old clefs. You will otherwise leave untouched many treasures of by-gone times.

• Give early heed to the tone and character of the different instruments ; try to impress their particular sounds on your ear.

• Never neglect to hear good operas.

• Reverence what is old, but have a warm heart also for what is new. Indulge no prejudice against unknown names.

• Do not judge a composition from the first hearing; what pleases at the first moment, is not always the best. Masters require to be studied. Much will become clear to you at an advanced age only.

• In forming a judgment of compositions, distinguish between those which belong to true art, and those which are intended merely for the entertainment of amateurs. Abide by the first; do not quarrel with the others.

• " Melody" is the amateur's battle-cry, and certainly music with-out melody is naught. But understand clearly what they mean by it ; an easily comprehensible, agreeably rhythmical one, is all they care for. But there are melodies of a different stamp, and when you peruse Bach, Mozart, Beethoven, they flash before you in a thousand different lights. You will, it is to be hoped, soon grow weary of the thread-bare monotony of the so-called new Italian operatic melodies.

• Should you succeed in combining little melodies on the piano, that is already something; but if they come spontaneously, not on the piano, then rejoice still more, then stirs within you the instinctive sense of music. The fingers must perform the behest of the head, not the contrary.

• When you begin to compose, do all in the head. Do not try a piece on the instrument before you have it well prepared. If the music came from your soul, if you felt it, it will have this influence on others as well.

• Has Heaven bestowed on you a lively imagination, you will often, in solitary hours, sit entranced at the piano, longing to express in harmonies your inward fervour ; and the more mystical are your feelings, while you are drawn as it were into magic circles, the more obscure perhaps will the realm of harmony appear. These are youth's happiest hours. But beware of giving yourself up too often to a faculty which may insensibly mislead you to waste on phantoms your powers and your time. The management of form, the power of clear representation, can only be secured by the fixed stamp of writing. Be therefore more of a writer than a visionary.

• Become acquainted betimes with the art of directing an orchestra. Watch good conductors frequently ; endeavour even to accompany the direction in your own mind. This conduces to accuracy.

• Be diligent in the study of life, as well as of the arts and sciences.

• The laws of morality are also those of art. 

• By industry and endurance you will always rise higher.

• From one pound of iron, which costs but a few pence, many thousand watch-springs are made, and the value is increased a hundred thousand fold. Make faithful and profitable use of the pound which God has given thee.

• Without enthusiasm nothing genuine is accomplished in art. Art does not exist for the acquisition of riches.- Aim ever at becoming a greater and greater artist ; everything else comes to you of itself.

• Only when the form grows clear to you, will the spirit become so too.

• Perhaps it is genius alone that understands genius.

• Some one asserted that a perfect musician ought to be able to see, as if before him, at the very first hearing, the score of an orchestral piece however complicated. This is the greatest height that can be conceived.

• Of learning there is no end.

Increase your musical vocabulary at least 168 times more effectively (I'm not kidding).

Hanon. Charles-Louis Hanon's "The Virtuoso Pianist in 60 Exercises".

Stop right there, don't run away. I agree that Hanon has some severe drawbacks and limitations, I am here to explain how to overcome those limitations and draw on Hanon's method to develop what is objectively the most comprehensive way to develop not only your musical dexterity as Hanon intended, but also your musical vocabulary and fluency.

By objective standards, this method has the potential to increase your musical vocabulary by a factor of 168 or even more.

Now, let's look at Hanon for a second, the bane of every pianist. The first twenty exercises in The Virtuoso Pianist follow a particular method which has a surprising quality to it that is often overlooked. The method that the first twenty exercises follows goes something like this:

1. Begin with a fingering pattern of semiquavers in 2/4 with two hands in unison starting in C major an octave apart.
2. Ascend the diatonic modes of C major using the same fingering pattern for two octaves.
3. Reverse the fingering pattern and descend the modes for two octaves.

What Hanon has effectively made every pianist do with this exercise is multiply a basic phrase by:

1. Playing it through seven modes
2. Across two octaves.
3. Altering the phrase.
4. Playing the altered phrase through seven modes
5. Across two octaves.

So, he has given you one phrase that has been multiplied by 7 modes x 2 octaves = 14 new phrases, and then provided you with another 14 phrases, giving you a total of 28 phrases for the price of one! This may seem trivial but ask yourself this, when was the last time you seriously studied a phrase and played it in a different mode, different octave, different key, rhythm, scale, wait... Hanon didn't change keys, rhythm or scale in his first twenty exercises, his strict use of semiquavers in 2/4 in the key of C is precisely one of the reasons his method warrants so much criticism, along with the claim that 60 exercises total is all it takes to develop a virtuoso technique.

What I am getting at here is that Hanon had something right all along, and because us musicians tend to avoid critical thinking in favour of being opinionated egotists we never noticed! What Hanon has laid the foundation for is for us to effectively remove the limitations of Hanon's method and replace them with methods that make them theoretically limitless.

Let's focus on those limitations and systematically improve on them:

Hanon only provides sixty exercises.

There is no way that only sixty exercises are going to make anybody a virtuoso. That's like saying you can be fluent in a language by mastering just sixty phrases. Anybody who practices Hanon or any other technical exercises will use it as a supplement to learning and creating real music. So by learning Bach or composing your own music you're already increasing and improving your musical vocabulary. There is an innate problem with this though that most musicians are neglecting which I have mentioned in this article, which is the fact that when most of us learn or create a phrase we tend to ignore that it has at least seven times more value if we play it in all seven modes.

Hanon's exercises are limited to only a few scales.

To my immediate recollection, Hanon only uses the diatonic, melodic minor, harmonic minor, and chromatic scales. Most of the exercises he provides aren't even mentioned to be played in other scales.

You can go beyond this by changing the scale. Using Hanon's exercises that are in C major for an example, we could take that first exercise and once it has been played as it is written, play it in harmonic minor instead. Now we have taken a phrase, played it in 7 modes x 2 scales = 14 exercises.

Hanon's exercises use only one key per exercise (with a few exceptions).

So, Hanon has already given us a method that can effectively increase our musical vocabulary and musical dexterity by a factor of seven. But for the most part, his method avoids playing each exercise in all twelve keys.

By doing so, we can effectively multiply one phrase or exercise by 7 modes x 12 keys = 84 new phrases!

If we change the scale, then we can further multiply those eighty-four phrases by each scale that we use. So a phrase that is usually diatonic that can provide us with 84 phrases/exercises, provides us with another 84 for each new scale we assign to it. Playing a phrase this way just across two scales will yield us 168 ways to play just one phrase.

Hanon's exercises may possibly restrict hand independence.

Most of Hanon's exercises utilise both hands in a way that they will play the exact same notes at the exact same rhythm one octave apart. Honestly, I think this is a bad practice and may restrict the musician's independence of each hand. This is simply remedied by playing the exercise with one hand of your choice, and then providing accompaniment with the other hand. This accompaniment could be improvised, it could be pre-arranged and notated, the world is your oyster.

Hanon's exercises are rhythmically unimaginative.

Now, I can see why Hanon may have chosen the first twenty exercises to all be a set of eight semiquavers in bars of 2/4. It does provide uniformity but in my opinion that's kind of like training wheels.

Whether you are using Hanon's exercises, a Bach melody, or your own phrases, it is worthwhile to use rhythmic variation so music doesn't always feel like it's being experienced through the same rhythmic lens. I imagine somebody who played Hanon the way he intended (all sixty exercises in one sitting every day) would suffer from perceiving all music as being slurred and modified variations of the sixty exercises. To be clear, I don't simply mean to just slur your phrases and play them rubato or staccato, I mean use completely different rhythms such as various time signatures and subdivisions. It could be interesting to add subdivisions or even omit or extend some notes.

It's called The Virtuoso "Pianist".

The music police (I hate those guys) will not arrest you for playing these exercises on your guitar, clarinet, trumpet, cello or whatever. I have had a serious talk with the chief at the music police station and he said it is completely acceptable by all standards of the music law to compose technical exercises for one instrument and arrange them for any other instrument.

This can yield some very powerful results, playing a phrase across twelve keys on guitar is significantly easier than on piano, but playing it across seven modes is significantly more intricate and thus will benefit your dexterity and musical abilities profoundly.

Hanon emphasises finger dexterity over musicality.

Dexterity is required to be an able musician, but the emphasis should be on creating and enjoying music, or else you're proverbially stuck riding with training wheels.

Trying to attain virtuosity just by increasing dexterity is like trying to be a better speaker just by practicing mouth movements, or trying to be a better writer by practicing correct pen-holding technique and writing out the alphabet with attention to form. These can be useful exercises, but the context and expression that accompanies the exercise is really what is at the heart of any practice whether it be music, painting, sports etc.

Moving on:

Improving your musical vocabulary by playing it in the multitude of various modal and tonal contexts is more than meets the eye. By practicing this way, we are not merely adding to a memory bank of musical phrases. More importantly, we are actually exercising our ability to perceive music in fresh new ways. I encourage you to consider that you aren't just increasing your vocabulary and dexterity, but you are expanding and developing your understanding of musical relationships in ways that transcend the idea of boosting your musical vocabulary. More important than having a large vocabulary is knowing how to use it, and this should innately occur through quality practice and reflection.

As I'm a big fan of thinking and getting other people to think, I thought of something new to introduce in my articles to encourage musicians to improve their music by thinking while also giving me more material for future articles. I thought I could end each article with relevant thought exercises such as considerations/questions and visualisation exercises to stimulate musician's abilities in navigating and creating musical possibilities. I am also considering making posts solely on visualisation exercises. Gee, I've got so much to work on.

Consider and question:

• In the future, when I learn a piece, I will practice particular phrases across across seven modes, twelve keys, and in various scales. Potentially multiplying my musical vocabulary by a factor of 168 or more.
• What would learning a major piece in harmonic minor or another mode be like? What new musical ideas, contexts, and patterns will I absorb? How can I use this new knowledge?
• What scales am I unfamiliar with? I will practice those.
• Let's make phrases in new time signatures and rhythmic patterns, and then play them through modes, keys, and scales.

Visualise and imagine:

• Hear and visualise your hands playing a simple phrase in C major. Imagine the same phrase across all the modes of C major. Try this for all 12 keys.
• Hear and visualise that same phrase but in harmonic minor. Imagine it through all seven modes of harmonic minor across all twelve keys.
• Imagine this with different phrases and scales.

Make Your Music Evolve.

In music, context is more important than the individual notes, phrases or other musical concepts. As musicians, it is vital that we are able to imagine and produce music that fits within the context of familiar and unfamiliar forms.

Take this note for example, a semibreve of middle C within a 4/4 bar.

What I want to show you, is that by altering this single note ad infinitum, we can discover and create different ways to relate to it, increasing our understanding of its potential context as we witness how just this one note can relate to other musical concepts. 

The first step I will take in the evolution of this note is duplicating it. This will allow me to demonstrate how the same note can work in two different ways.

We can give each of these two notes some harmonic information.

So for the first bar, I stuck with C as the root note and voiced it as a Sus4 in the root position. But the second bar actually isn't a textbook C chord at all, It's an inverted F major. I did this to show that adding harmony to C doesn't necessarily require C to be the root interval. But what if I removed the C entirely?

In these two bars, I removed the C and replaced it with the respective Major 7th interval of each chord. So the first chord has a B in the higher octave, making it something like a 7-1-3 voicing of a G7. The second chord replaces the C with an E in the higher octave, so it's like a 1-3-7 voicing of Fmaj7.

So. The formula I used to create these variations went something like this:

1. Start with a simple musical concept (in this case, middle C)
2. Alter it rhythmically (duplicate the bar).
3. Alter it harmonically.

I'll provide three more examples of running music through formulas similar to previous example.

This is a Major second interval in the key of D minor, expressed as minims. I will do something similar to the first example, which was expanded to fit over two bars.

This gives us a bit more breathing space to create further alterations. Lets turn each of these notes into arpeggios.

So as the first bar was D, and the second bar was E, I've transformed each one into their respective arpeggios within the key of D minor. D minor and E minor. I could make these arpeggios a bit spicier though.

The arpeggios now contain their respective 7th and 9th intervals within the key. So D minor now contains C and E, making a Dm9 arpeggio. E minor now contains D and F, making a Em7b9 arpeggio. And all of this came out just from two minims! On to the next one.

This is just a simple, ascending G major triad in crotchets. I have an interesting idea on how to alter its rhythm.

I've introduced a new time signature, and as a consequence, the rhythmic values of the crotchets had to be altered by dotting them and distributing them over two bars. The 6/8 time signature works great with two pairs of three quavers so I would like to take advantage of that classic form.

In this case, I have turned the G and B notes of the first bar into ascending G major and B minor chords respectively. As for the second bar, the D returns to B and then D (descending and ascending minor 3rd interval) followed by another G major arpeggio, this time inverted and descending. Let's make one more variation.

I've turned each note into chords. Just like the F major chord in the first example, I decided not to use the existing note as the root interval. Instead, I opted to use it as a 3rd in a bunch of 3-5-1 triad voicings. Let's do just one more example.

For this last example, I have chosen an ascending G harmonic minor scale in 4/4 as crotchets. Let's do something crazy about changing the rhythm though.

I've taken the exact same notes, but split them across a bar of 5/4 and one of 3/4 instead of two bars of 4/4. Distinguishing them as uneven sets of 5 and 3 notes should greatly contribute to further alterations.

I continued to alter the rhythm by making the crotchets in 5/4 into quaver triplets, and the crotchets in the 3/4 bar into semiquavers. For the triplets, I added each note its respective 6th interval within the key of G minor and its octave. And for the semiquavers I just did some descending scale runs. Now for the last alteration.

The first quaver of each triplet has now been split into semiquavers, with the second semiquaver being a diatonic 3rd above the previous note. And for the semiquavers in bar two, I also divided the last semiquaver of each beat to add one more note to the descending pattern.

I highly encourage musicians to try these kinds of exercises in evolving musical ideas as a powerful and effective way to continually evolve their musical understanding, expression and ability.