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SEVEN NOTES SIMPLY PUT A revolutionary new way to learn music which is instinctive and intuitive. Printed in England Copyright Mick Masterson 2010 www.staveput.com £ 7.77 STAVEPUT

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A revolutionary new way to learn music which is instinctive and intuitive.

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S E V E N N OTE SS I M PLY PU T

A revolutionary new way to

learn music which is instinctive

and intuitive.

Printed in England

Copyright Mick Masterson 2010www.staveput.com

£ 7.77

S TAV E PUT

INDEX

GUIDO D’AREZZO (HISTORY OF NOTATION).. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

MAKING MUSIC MANAGEABLE... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

STAVEPUT VS. EXISTING SYSTEM.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-7

THE KEYBOARD AND SYMBOLS... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8-10

FINGER POSITIONS... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

LONDON BRIDGE IS FALLING DOWN.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

FÜR ELISE... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

TRANSLATE YOUR PARTY PIECE... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-17

NOTES... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Pages

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Scholar and music theorist Isidore of Seville, writ ing in the early 7th century, remarked that it was impossible to notate music. By the mid-dle of the 9th century, however, a form of notation began to develop in monasteries in Europe for Gregorian chant. The ancestors of modern symbolic music notation originated in the Roman Catholic Church, as monks developed methods to put plainchant (sacred songs) to paper.

The founder of what is now considered the standard music stave was Guido d’Arezzo, an Italian Benedictine monk who lived from 995–1050. His revolutionary method—combining a four-line stave with the first form of notes known as ‘neumes’—was the precursor to the five-line stave, which was introduced in the 14th century and is still in use today. Guido D’Arezzo’s achievements paved the way for the modern form of written music, music books, and the modern concept of a composer.

Guido d’ArezzoIn essence the Staveput system is a return in part to the four-lined stave system, which encapsulated and defined the seven notes with clarity, an essential visual aid for the beginner.

The introduction of the five-lined stave/eleven-lined stave system in the Renaissance period was an expansion in both pitch and octaves, which was much needed at the time, with the introduction of more musical instruments being made. This change in format was a visual and audio aid for the initiated.

However, for the uninitiated, this change was a loss in a simple visual format. Still today people have dif ficulty understanding the basics. The expansion in the Renaissance period was right, but its illustra-tion of musical notation was not improved upon. Its own legacy has demonstrated that. The Staveput System is a positive development in simplify the illustration and the understanding of musical notation.

A HISTORY OF MUSIC NOTATION

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The staves are the foundation, the structure on which music is placed. The biggest drawback with written music, and the reason that most peo-ple fail, is that they have to memorise the position of the notes relative to the staves.

With StavePut you don’t have to memorise the position of the notes. They don’t move, notes A C E & G stay on the staves, while B D & F stay in the spaces between the staves.

The StavePut system can easily become instinctive, now everybody can learn to read piano music. For every ten people who want to learn to play the piano, nine drop out. The StavePut system makes learning fun. Our children can overcome the barriers inherent in existing systems of musi-cal notation. A clear and concise format, StavePut takes away the need for note-reading (all cows eat grass etc..) It takes away the confusion, it is made easy. Playing the piano is an exciting adventure for children, so let’s facilitate this, let’s keep their interest alive.

MAKING MUSIC MANAGEABLE

BA C D E F GBA C D E F G

BA C D E F G

THE SCALE OF NOTES STAY THE SAME.

THE NOTES ON THE KEYBOARD STAY THE SAME.

THE BEATS PER BAR STAY THE SAME.

ONLY THE STRUCTURE OF THE STAVES ARE ALTERED FOR THE MAXIMUM GAIN.

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THE NEW STAVEPUT SYSTEM VS.

THE OLD SYSTEM

WHICH NOTES ARE THESE?

New

Old

ALL THE NOTES ARE ‘A’

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THE NEW STAVEPUT SYSTEMVS.

THE OLD SYSTEM

THE STAVES ARE THE FOUND TION

THE STAVE-PUT SYSTEMBoth scales have 21 notes, but the StavePut system has

continuity of note placement, based around

middle D, and is a ref lective image of the keyboard itself.

THE EXISTING SYSTEM ascends and decends f rom i ts focal point of middle C,

so in turn, a l l of the not es a l t ernat e, on the st ave and

of f the st ave. This creat es a v isual shif t ing

pat t ern of not e placement which is not conducive

for easy learning.

middle c

BA C D E F G

BA C D E F G

G

BA C D E F

middle d

BA C D E F GBA C D E F G

BA C D E F G

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The Middle D not e is a whit e key, below and in the

middle of the two black keys. The black keys are set

in groups of two and three.

THE KEYBOARD

Musical Not es: seven let t ers make up the musical

a lphabet.They are: A B C E F G . These let t ers denot e the

whit e keys, which are set in cont inuous groups of seven.

middle d

A B C D E F GA B C D E F GA B C D E F G

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LET’S MEET THE SYMBOLS

The space between the two bar l ines is cal led a bar.

Middle D clef denot es the central not e

of the St aveput syst em.

The Bass Clef

The Treble Clef

Double bar l ines and repeat marks

B A R L I N E S

S TAV E L I N E S

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TIMING (RHYTHM) AND NOTE SYMBOLS

In music, t iming is everything.

In music, t ime is expressed as beat es per bar.

These are the very basic bui lding blocks of melody.

A good example of put t ing together beats-per-bar and

word and developing a tune is the song-

‘London Bridge is Fal l ing Down’

1 beat = crochet - quar t er not e

2 beats = minim = half not e

4 beats = semibreve = whole not es

Please not e; the numbers here represent

beats-per-bar, and not f inger posit ion.

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FINGER POSITIONS (LET’S TINKLE A LITTLE!)

The thumb is number one!

Fingers Jive two and f ive!

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22 3344

55

23 1 5 4 3 231 2 1 2 3 1

32 4 5 1 2 3

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LODON BRIDGE IS FALLING DOWN

A dot after a note increases it’s length by half.

The example above has an exaggerated accent for the

practical purpose.

.

LON-DON BRIDGE IS FAL-LING DOWN MY FAIR LA-DY

LON-DON BRIDGE IS FAL-LING DOWN FAL-LING DOWN FAL-LING DOWN

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FÜR ELISE

Ludwig Van Beethoven (1770-1827)

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TRANSLATE YOUR ‘PARTY PIECE’

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