Chromatone Curriculum - A New Chromatic Approach

[Joseph Austin]

I propose to begin a "from scratch" curriculum for Jankó based on a 12-TET "isomorphic' notation and terminology.  I would hope that others would also contribute ideas and critique.

I am envisioning an "audience" of a new student without significant prior musical training, that is, someone who is not already well-versed in the traditional notation and nomenclature.

Part of my motivation is to see whether "music theory" can be expressed without using the traditional piano keyboard--black and white keys, sharps and flats--, the seven-letter-plus-accidentals names for the keys and pitches, the 5-line diatonic staff, and interval and chord names based on the 7-step diatonic scale.

Some may question whether one "needs" to use a whole new system of notation and terminology to learn to play the Jankó.

I am not suggesting that that is the case, but I will leave it to others to explain the conventional terminology in the context of the new keyboard.

Or, some will ask, doesn't the Jankó student need to understand traditional music notation, terminology and theory in order to avail him/herself of the cumulative musical repertoire and experience of Western Civilization?

Again, I am not suggesting that the student learn only the "new" system; I am just staying that I do not want to presume the traditional system as a prerequisite or co-requisite for learning the new.  And I will discuss the correspondence of the new ideas to the traditional, for the benefit of those already familiar with the traditional system.

I think a more appropriate question may be:
"Does one need a Jankó keyboard to develop 12-TET theory?"

Whatever the answer, the isomorphic Jankó keyboard and the "alternative" isomorphic 12-TET notations and terminology seem to fit well together, so I think it is worthwhile to explore what the marriage might look like.

So I wouldn't say,
"Because we have a new keyboard, we need a new system", 
but rather,
"Because we have a new keyboard,
we have an opportunity to develop a new system."

It would be useful if there were a standard syllabus for keyboard instruction to use as guidance for developing a new curriculum.

I'm not aware of any such "standard," but it has been suggested that we look at the piano method by Robert Pace, as he takes a multi-key approach. 
Chromatone also describes their own "Muto" method for Jankó, http://muto-method.com/en/, which includes a staff and note names, but I haven't seen any additional instructional material.  I will be referencing these methods, and others, for comparison.

Let me start by listing some elements that I think belong in the "syllabus" of a  "Jankó method" and a system / theory of music description.  I will focus 

primarily on intellectual content as opposed to technique.

* scale formation

* chord formation

* beat and rhythm patterns

* form

* harmonic and melodic intervals

* cadences and harmonic progressions (circle-of-fifths)

* modulation

* parts and voicing 

* the concept of tension/resolution and it’s realization in melody, harmony, rhythm, and form (probably in the reverse order).

I think the underlying concept behind these is “pattern.”

I don’t have a mathematical definition of "pattern", but it involves the concept of repetition--

familiarity within variety, order amidst chaos, predictability, expectation.

And then, applying the tension/resolution concept by establishing a “stable" pattern, 

then “breaking” it, then resolving back to stability.

So what I seek in “notation” is visual patterns that correspond to musical patterns.

And what I seek from “theory” is a way to “measure,”  or at least distinguish, 

tension and equilibrium,  and a way to describe “motion” from one to the other.

We may want to modify this topics list as we go along.

[Doug Keislar]

Hi Joe,

Very interesting and encouraging!   I just want to share a couple of thoughts.

-- I recommend avoiding the temptation to dump too much information on the student in too short a time.  A lot of learning an instrument is kinesthetic rather than intellectual, whereas I suspect your natural tendency as a computer scientist is to stress intellectual concepts.  Let the student enjoy being able to create sounds; the "aha" moments regarding pitch patterns can follow later.

-- The five-finger pattern is actually slightly complicated on Janko.  How about starting with a melody that involves only one row?  Say, Hot Cross Buns?  Just two major seconds.  No thumb needed.  Maybe just  fingers 2, 3, and 4.  Let the student explore playing that melody starting on any key they want.

-- It's very far from a beginning exercise in traditional piano instruction, but it seems to me it might be useful to let the student explore the keyboard arrangement by playing chromatic scales.  For example, they could alternate the thumb on the bottom row with perhaps the second finger on the next row higher.  And you would want them to learn very early on that this can also be done in the top two rows.  (I don't have a Chromatone, so I can't experiment with suggested fingerings.)  Passing the thumb under another finger is usually taught in conjunction with ascending scales, and so it traditionally doesn't happen near the beginning of the course of piano study, but it seems to me that a chromatic scale on Janko is so simple and doesn't present the same ergonomic challenge of passing the thumb under a finger as does, say, a C major scale on a traditional keyboard.

--Doug

[Doug Keislar]

P.S. And after learning Hot Cross Buns in a single row, the student could be shown how to play it using the thumb on one row and 2 and 3 in a higher row.  This could be done with each hand separately.  Again, they should experiment playing it in multiple locations.  This variation teaches them early on that the same pitch recurs two rows higher or lower, and that ergonomics dictate the choice.

[Omar Soriano]

I don't have much to contribute to this topic, except to say regarding:

I think a more appropriate question may be:
"Does one need a Jankó keyboard to develop 12-TET theory?"

I would say "no.  many isomorphic instruments would do the trick."

4 string bass is fully isomorphic (as is great for teach.  Even guitar, with its one string tuned to fifths, would do, I think (and its such a popular instrument).  With that said, I do think that time will show Janko emerging as the preeminent instrument for isomorphic pedagogy.

For the sake of thoroughness, we should include:

violin
viola
cello
double bass
some accordians

as other isomorphic instruments

[Paul Morris]

On Sep 13, 2015, at 11:40 AM, Omar Soriano <oeso...@gmail.com> wrote:

For the sake of thoroughness, we should include:

violin
viola
cello
double bass
some accordians

as other isomorphic instruments

I agree, there are lots of isomorphic instruments.  See also the list here.

http://musicnotation.org/wiki/instruments/isomorphic-instruments/

-Paul

[Omar Soriano]

yeah, I mean, you gotta leave room for the fact that some people just don't think in terms of keyboard.

On Sunday, September 13, 2015 at 4:41:33 PM UTC-4, Paul Morris wrote:

On Sep 13, 2015, at 11:40 AM,

For the sake of thoroughness, we should include:

violin
viola
cello
double bass
some accordians

as other isomorphic instruments

[gguitarwilly]

Hi Paul,

Interesting, especially the flute and sax. I fantasized already about a sax with midi controlled vents and a janko keyboard on top, but this seems a far better solution.

Willem

Op zondag 13 september 2015 22:41:33 UTC+2 schreef Paul Morris:

[Joseph Austin]

STANDARD METHODS as a MODEL

I finally received a couple more method books:

* Piano Plain and Simple by Cynthia Pace

This is an "adult" version of the Robert Pace method.

* Piano Pronto by Jennifer Eklund

Piano Plain and Simple seems the more readily adaptable to Janko.

It starts with a "ten-finger position", but using the pentatonic scale on the "black keys,"

do-re-mi--so-la or so-la--do-re-mi. For two hand, both hands are on the same notes, an octave apart.

Of course, on Jankó, this splits the hand between rows. Of course, the Janko student will need to become accustomed to splitting between rows. But I believe the pentatonic-scale based split is somewhat more intuitive, gentle, and musical than the traditional 5-finger "do-re-mi-fa-so" position on the "white keys."

Introductory song list (pentatonic songs or arrangements):

O Susanna

That's Where My Money Goes

Old MacDonald

Merrily We Roll Along

Hot Cross Buns

At this point, she invites the student to make up his/her own melodies (using the pentatonic scale)

to the words of these songs.

then moving to C major, five-finger position:

Theme from Beethoven's 9th Symphony

various folk songs

by Lesson 6, she moves to a chromatic piece: 

Alley Cat

[Joseph Austin]

Beginning Piano in Clarinote, Public Domain

Over on the MNP forum, Paul Morris posted a beginner method by Muzio Clementi:

Introduction to the Art of Playing the Pianoforte, Op.42 (Clementi, Muzio) (1801)

http://imslp.org/wiki/Introduction_to_the_Art_of_Playing_the_Pianoforte,_Op.42_%28Clementi,_Muzio%29

and, he also has it transcribed into Clarinote, suitable for Janko

Here are some links to the results so far, for letter and a4 size paper.  

http://clairnote.org/experiments/clementi-op42-a4.pdf

http://clairnote.org/experiments/clementi-op42-letter.pdf

 

[Doug Keislar]

[Note that "mnp.org" was a mistake.  It should be musicnotation.org or (more directly)
http://groups.google.com/group/musicnotation
Lots of topical overlap with this group, but more focused on notation than on keyboards.]

[Doug Keislar]

Never mind; it looks like Joe may have already edited his post to remove the "mnp.org" which I saw when I read the post in email.

[gguitarwilly]

Hi Joe,

Have you tried altering or adding Janko fingerings yet? in the lilypond editor Frescobaldi, you can open the .ly file, click on the fingering number in the image of the score, and alter it.

I suppose for you, with your computer background, Lilypond will be quite easy to get used to. Or is Paul still working on a version with a bigger font?

Willem

Op zaterdag 16 januari 2016 21:51:22 UTC+1 schreef Joseph Austin:

[Joseph Austin]

Not yet! 

[I accidentally deleted my original response, so I'll try to reconstruct it.]

I've been away from Lilypond for a while but I'm getting back into it.  I once was able to use ChromaTonnetz shape-notes in Lilypond.

I've discovered that Janko fingering requires two numbers: finger and row. Let's see if Lilypond can do that.

[Omar Soriano]

I've discovered that Janko fingering requires two numbers: finger and row. Let's see if Lilypond can do that.

Not necessarily.  You need something indicate row, but not necessarily numbers.

I think Keeler was onto something with with his subtext and supertext markS (basically apostraphe ' and comma , )

Unless you're going to use all six rows, apostrophes and commas, or even carrot and wedges, such as ^ and v , may suffice

So for example Cv may indicate the lower C, whereas C^ indicate the upper C,

or, if you want to attach those symbols to finger numbers:

1v would mean you play the note on the lower row with your thumb, whereas 3^ mans you play with your middle finger on the upper row

I would discourage you for using numbers for rows, as using numbers for rows and fingers will convolute your notation real quick
 

[Joseph Austin]

I typically do use all 6 rows.

I've used letters:" u v w x y z " for the six rows beginning with the row nearest the performer.

On my keyboard u w y are the FGAB rows;; v x z are the CDE rows.

[Omar Soriano]

I see. And I can see why you'd use letters to denote the six rows-- it sort of makes a cartesian plane out of the board.

But an alternative: since each note appears on three rows max, perhaps use just three letters:X, Y, and Z. Why?

- consider not all jankos are built the same way. For some, C will appear on row x, and for others on row y in a six letters system. But in a three letter system, x would always refer to the bottom C, whichever row is may actually appear on.

[Joseph Austin]

 

Omar,

I'm generally opposed to permanently pairing two wholetone rows--

this reduces isomorphism.  And also requires memorized conventions and mental gymnastics to interpret the notation, which is something AN proponents try to avoid.

I know the Lippens notation MuseScore pairs rows as you suggest,

and for that notation your suggestion makes sense.  

Also, in practice I tend to reserve two lower rows for the thumb and two upper rows for the fingers,

but in Hanon for example, I tend to play do-re-mi above fa-so-la-ti.

So in half the keys,the thumb rows are u-v and in the other half, v-w.

So the pairing changes depending on the key.

Of course, that could be part of the "convention"

Also, the pairing might depend on horizontal hand position in the scale.

I avoid playing 1 4 5 above 2 3,

so depending on the notes being played, 3 and 5 split hi-lo in rows,

but it might be mi-so  or la-do, with a different pair of rows in each case.

So perhaps a "relative row" interpretation would work:

Suppose there is an imaginary "fence" between the thumb (only) rows and finger rows,

perhaps as fingered for a standard scale.

Let v w be the thumb (only) rows, and  x y z the finger rows,

where x and rarely y might have both thumb and fingers.

So in some key on some instrument, v might be row 1, while in another situation, row 2,

But v wouldn't always be  the "C" row or the  "do" row, or whatever,

but it would always be the lowest row used in that key for that piece.

I'll try to work out some examples.

[Omar Soriano]

Sounds like you've got it well-thought out. Good luck.

As far as...

"So perhaps a "relative row" interpretation would work:
Suppose there is an imaginary "fence" between the thumb (only) rows and finger rows,
perhaps as fingered for a standard scale."

...in my personal playing, I would stay away from this, because it would definitely lead to shaping figures differently in the left hand than the right.

This would go against the principle of "learning is easier insofar as fingering/shapes in both hands are similiar."

I confess that, of the Keeler-Soriano principles of Janko Chromatone fingering, the principle of both hands playing same shapes is the principle that has borne me the most fruit, and why I think my learning has increased speed the last year.

[Joseph Austin]

Omar,

I've tried the "both hands same shape" approach and it generally works well.

This results in the pinky being on the same row with the alternate thumb.

If I play thumb low, matching shape sometimes results in an uncomfortable stretch between 5 and 4 on the opposite hand.

Consider, for example,  beginner five-finger position do-re-mi-fa-so:  w y x x v

Now I've seen you put the thumb on the same row with the fingers, which I find similarly uncomfortable.

Instead, I'll often just play pinky on the same row with other fingers instead of reaching down to parallel the alternate thumb.

Given that it's all still rather new, I must confess I'm not totally consistent even at that.

I think it may be even be worthwhile to try a few different ways and see what works best.

Having found Molineux, I'm finally on a learning path that I find comfortable.

Not sure how far M can take me, but it's a gentle start for new keyboard, new notation, and new fingering.

I also want to try mixing up the keys for reading purposes and see how that goes.

I've already been switching keys every day for the Hanon.

Let's see if "isomorphism" really works!

[Omar Soriano]

Isomorphism isn't on trial. We are.

[Joseph Austin]

On Saturday, January 30, 2016 at 7:11:25 PM UTC-5, Omar Soriano wrote:

Isomorphism isn't on trial. We are.

 

Omar,

I guess we are on trial to the extent we have been "advocating" for Janko.

I think perhaps my enthusiasm is waning as I moved from armchair-theoretician to in-the-trenches playing.

The hypothesis is that Janko is "easier" to play than the conventional keyboard arrangement.

I believe we could agree that "transposing" is easier on Janko; 

but whether "learning" is, remains to be seen.

Of course, anything new can be initially difficult,

so I think it's too early to render judgment.

I had proposed to give myself a year.  The "year" is approaching the "final quarter',

but I feel like I've really just started (where does the time go?)--not much yet to show for my "efforts", such as they have been.

It's only since getting my notation software to a "working" level, and finding the Molineux, that I've felt I have a platform to begin learning.

Of course, your videos have also been helpful.

Meanwhile, I'm getting frustrated with the marginal quality and reliability of the Chromatone itself.

I've been trying the Molineux duets using my isomorphic Chromatonnetz notation, and have been making some progress.

[The duets feature fixed 5-finger positions for each hand, either do-re-mi-fa-do or fa-so-la-ti-do,

but not necessarily the same position for both, depending on the piece.]

I've tried moving the shape-notes around on the staff (same shape s always "do", but not always the same pitch).

That does not seem to be a problem; the staff is actually fairly useless for Chromatone as there are no markers to align to the staff.

I haven't yet tried assigning shapes by pitch vs. scale degree.

But bottom line, I can't imagine trying to start on a Chromatone with conventional (non-isomorphic) notation.

I've also tried "same shape both hands" vs "pinky with fingers", but haven't reached any firm conclusions yet--

but consistently playing pinky-ring on different rows (two rows apart) for "do-re" or "fa so" is considerably more error-prone than doing the same for thumb-index, even in "fixed" hand position. I guess I'm not really "fixing" my position.

[gguitarwilly]

Hi Joe,

You are 3/4 in your first year on Janko keyboard, I'm nearing one year.

Can we draw conclusions about the alleged 'easy' layout?

Somehow, in my explorations of both Janko keyboard and alternative notations, I've reached the same conclusion a few times: every advantage has a disadvantage, and vice versa.

A narrow octave span is nice, but with it comes splitting up the octave in two vertically separated rows. This has two disadvantages: orientation is difficult (both visual and tactile), and the natural curve of the fingers often leaves your fingertips at a spot where, alas, the note one desires to play is not there, forcing one to find a solution for that by trying out a number of alternative fingerings.

The uniform layout greatly diminishes the number of chord and scale forms to be remembered. But chord shapes lose their identity because they're all the same, leaving the mind in confusion.

Now that might be one of the 'problems' that is gradually overcome by playing a lot. But the fingering of musical passages can hardly be called easy. One has to develop all kinds of skills, like reading ahead, seeing where a melody is going to be able to anticipate fingerings. But then again, I never really played trad piano, and finding the right fingering might be just as difficult there.

I found that, when I thought I might abandon Janko altogether, that when I played something on trad piano, the clumsiness of that keyboard is more evident than ever.

Also, the combination of using 6-6 notation and a ditto keyboard has opened up a way of playing keyboard from sheet music that may best be compared with playing guitar from TAB notation.

Compared to TN it is an experience of freedom.

So I'll probably keep on playing for a while, even though I'm not convinced I've found the optimal keyboard solution.

Sadly, considering our efforts to develop a kind of curriculum, I've come to the conclusion that the chromatone keyboard has such different key dimensions than my piggyback, that comparing fingerings is not very useful.

Let's see where we are in another year. After all, what can one expect after playing an entirely new instrument for one year? 

And: it can be done! Check out the japanese Chromatone videos now and then..

cheers, Willem

Op zaterdag 6 februari 2016 16:53:21 UTC+1 schreef Joseph Austin:

[Omar Soriano]

I fall more in love with this instrument every day. It truly is my fream instrument. Perhaps because I struggled in the trenches with traditional piano for a few years, I appreciate how much this makes things that were hard there.