Immerse yourself in notation - Part 3/4

Allow me to introduce my secret weapon for discovering and utilising the stave.

I call it "The Table of Musical Elements" (or "TOME" for short). It is a concise, yet thorough, categorised reference of basic musical elements such as: 

• Key signatures.
• Rhythms.
• Scales and modes.
• Chord types.
• Intervals.
• Chord voicings and inversions.
• Polyphonic qualities.

The name is inspired by the periodic table of elements used in the field of chemistry. Although my table is by no means an exhaustive or perfect categorisation of all the elements that music is comprised of, I do believe it is more than sufficient for its intended purpose.

You can download your copy of it for free by clicking here.

So, what is its intended purpose?

The practice of chemistry allows one to calculate theories and conduct experiments on chemical elements and compounds to make useful discoveries. But what if we were to base our theories and experiments on musical elements and compounds rather than chemicals? By doing so, we can effectively discover, create, and identify new music like mad scientists.

The way to do this is to simply pick parameters from the table and compose exercises based on those parameters. To maintain clarity and distinction, I suggest starting off small. Personally, I find it useful to create sets that have one parameter in common, while the rest of the parameters are variable. See what works best for you.

Here are some basic examples:

For the common parameter, I'll keep it simple and choose the key signature of C major/A minor.

Although we are in the key of C, that does not limit us to diatonic modes in C. Rather, we are to to read and explore the stave as it relates to the C Major's lack of accidentals. In practical terms, C Lydian is notated with an F# because the key has no sharps, as opposed to the textbook example of C Lydian in its parent scale of G Major - It's all about context.

See if you can play these!

 Example 1

• C Major key signature.
• 4/4 Time signature.
• C Lydian.
• Semiquavers.
• Melody.
• One voice.

Example 2

• C Major key signature.
• 5/4 Time signature.
• A Phrygian.
• Semiquavers.
• Melody.
• One voice.

Example 3

• C Major key signature.
• 4/4 Time signature.
• C Melodic minor.
• Quavers.
• Melody.
• One voice.

Example 4

• C Major key signature.
• 3/4 Time signature.
• C Locrian Natural 6.
• Semiquavers.
• Melody.
• One voice.

Example 5

• C Major key signature.
• 4/4 Time signature.
• Major triads (F, E, A, C, B, Db, G, A.)
• Minims.
• Harmony.
• 3 to 4 voice polyphony.

The aim of this method is to increase abilities in pattern recognition. The stave is where musical patterns are displayed in utmost clarity. Being able to identify these patterns in reading, writing, listening, and your own playing, is how fluency in the language of music is attained. Using this method, there is always new material to create, examine and play.

That is all for part three. Part four will conclude this series with some final words on sight-reading, re-interpretation and composition.