![]() My first observation was that there were quite a few commonly used patterns that do not follow the imaginary bar line rule. This makes the music easier to understand for those reading it. The principle of the imaginary bar line is that one should be able to draw a bar line in the middle of a measure of 4/4 meter that divides it into two bars of 2/4. I went back to square one and re-examined rhythmic notational practices-especially the imaginary or invisible bar line concept. In 1999, when I first taught Berklee’s Writing Skills course, I was forced to examine the structure of rhythmic notation so that I could teach it. His approach inspired me to look at rhythms in a new way. In his book A Theory of Evolving Tonality, Joseph Yasser offers a fresh, unique, and valuable perspective on the relationships in tonal music. I admire music theorists who can step back from what they have learned and examine music from a fresh perspective that is separate from the system they have been taught. He has written the MusicGamesOne software program that teaches music fundamentals in a video-game format. The complexity of the music is not intimidating for them, and it is so easy for me to insert into lessons.Scott McCormick is a professor in Berklee’s Harmony Department. I see a difference in my students' comfort level approaching new piano pieces. now they have a reason to pay attention to where a sharp actually goes. Then, the following week, it was D, D, A, A, B, B, A. We have been writing out "Twinkle twinkle little star, how I wonder what you are." No timing - just plain whole notes.įirst we all started with C, C, G, G, A, A, G. I like to give them a familiar tune, and make them write out just the first phrase. ![]() ![]() We'll keep drawing those treble clefs until they can make them better than me! What good is this for older players? Mostly they will get it, and then we expand outward from there. Where do you think it will be?" and I ask them to draw the F. What is the note below G, touching G?" (It is F, of course.) Then I say, "So F has to touch the G line. This is for the beginners who are having trouble seeing higher and lower notes, line or space notes. None of the cursive letters REALLY look like the treble clef, of course but after a bit of guessing, I'll mention how in the OLDEN DAYS, cursive writing was very fancy, and that treble clef really did look like the letter G. I'll draw line note G on the second line and ask them, "What is the note on that line?" and then we go through the musical alphabet, with me drawing a cursive alphabet, if they don't remember what that landmark note is. swoop up and over to the middle line, then down and swirl around the second line!" That second line is "G", of course now make a big backwards capital 'D', landing on the bottom line. up to the top and over a little bit - make a small capital 'D'. it is a challenge just to make the loops and swirls in the right directions, and then to land them on the target lines takes real attention!įor an all-in-one line, I direct them (as I am also drawing), "Umbrella handle - start at the bottom. ![]() They all LOVE to practice drawing notes and musical symbols! I start with drawing the treble clef Lately, every lesson, all of my students spend about 3 minutes with one of these staffs.
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