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      "body": "@@ -683,18 +683,20 @@\n finger.%0A\n+.\n %0A%0A\n+.\n %0AInterva\n",
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      "body": "Repeating an interval in semitones on the piano until the initial note is encountered reveals a unique pattern for each interval in the octave, and above.\n\nWe will diplay the patterns starting with interval 1 semitone and going up to interval 12 semitones. 0 is the starting note. Standard notation is used.\n\nThe starting note will be C, but this drill must be repeated starting with all twelve notes in the octave, going both up and down the full range of your instrument.\n\nThe drills are played with one hand, then the other. If you can play them alternating with both hands, which I haven't yet done, then do so. Each finger of each hand can also be used in turn as the starting finger.\n\n\n\nInterval 1 semitone :\n\n0 1 1 1 1 1 1 1 1 1 1 1 1\t--\tjump of 1 semitone\n\nC C# D D# E F F# G G# A A# B C -- standard notation from C\n\ni1 is a single series of 13 notes separated by 12 intervals of 1 semitone. This series covers 12 semitones, or 1 octave.\n.\n\n.\nInterval 2 semitones :\n\n0 2 2 2 2 2 2\n_ 0 2 2 2 2 2 2\n\nC D E F# G# A# C\n_ C# D# F G A B C#\n\ni2 creates 2 series of 7 notes separated by 6 intervals of 2 semitones (one tone). Each series covers 12 semitones, or 1 octave.\n\nThese are the two 'whole-tone scales' in classical theory.\n.\n\n.\nInterval 3 semitones :\n\n0 3 3 3 3\n_ 0 3 3 3 3\n_ _ 0 3 3 3 3\n\nC D# F# A C\n_ C# E G A# C#\n_ _ D F G# B D\n\ni3 creates 3 series of 5 notes separated by 4 intervals of 3 semitones. Each series covers 12 semitones, or 1 octave.\n.\n\n.\nInterval 4 semitones :\n\n0 4 4 4\n_ 0 4 4 4\n_ _ 0 4 4 4\n_ _ _ 0 4 4 4\n\nC E G# C\n_ C# F A C#\n_ _ D F# A# D\n_ _ _ D# G B D#\n\ni4 creates 4 series of 4 notes separated by 3 intervals of 4 semitones. Each series covers 12 semitones, or 1 octave.\n.\n\n.\nInteval 5 semitones :\n\n0 5 5 5 5 5 5 5 5 5 5 5 5\n\nC F A#\tD# G# C# F# B E A D G C\n\ni5 is a single series of 13 notes separated by 12 intervals of 5 semitones. This series covers 60 semitones, or 5 octaves.\n\nThis is the 'Circle of Fourths' in classical theory.\n.\n\n.\nInterval 6 semitones :\n\n0 6 6\n_ 0 6 6\n_ _ 0 6 6\n_ _ _ 0 6 6\n_ _ _ _ 0 6 6\n_ _ _ _ _ 0 6 6\n\nC F# C\n_ C# G C#\n_ _ D G# D\n_ _ _ D# A D#\n_ _ _ _ E A# E\n_ _ _ _ _ F B F\n\ni6 creates 6 series of 3 notes separated by 2 intervals of 6 semitones. Each series covers 12 semitones, or 1 octave.\n.\n\n.\nInterval 7 semitones :\n\n0 7 7 7 7 7 7 7 7 7 7 7 7\n\nC G D A E B F# C# G# D# A# F C\n\ni7 is a single series of 13 notes separated by 12 intervals of 7 semitones. This series covers 84 semitones, or 7 octaves.\n\nThis is the 'Circle of Fifths' in classical theory.\n.\n\n.\nInterval 8 semitones :\n\n0 8 8 8\n_ 0 8 8 8\n_ _ 0 8 8 8\n_ _ _ 0 8 8 8\n\nC G# E C\n_ C# A F C#\n_ _ D A# F# D\n_ _ _ D# B G D#\n\ni8 creates 4 series of 4 notes separated by 3 intervals of 8 semitones. Each series covers 24 semitones, or 2 octaves.\n.\n\n.\nInterval 9 semitones :\n\n0 9 9 9 9\n_ 0 9 9 9 9\n_ _ 0 9 9 9 9\n\nC A F# D# C\n_ C# A# G E C#\n_ _ D B G# F D\n\ni9 creates 3 series of 5 notes separated by 4 intervals of 9 semitones. Each series covers 36 semitones, or 3 octaves.\n.\n\n.\nInterval 10 semitones :\n\n0 10 10 10 10 10 10\n_ 0 10 10 10 10 10 10\n\nC A# G# F# E D C\n_ C# B A G F D# C#\n\ni10 creates 2 series of 7 notes separated by 6 intervals of 10 semitones. Each series covers 60 semitones, or 5 octaves.\n.\n\n.\nInterval 11 semitones :\n\n0 11 11 11 11 11 11 11 11 11 11 11 11\n\nC B A# A G# G F# F E D# D C# C\n\ni11 is a single series of 13 notes separated by 12 intervals of 11 semitones. This series covers 132 semitones, or 11 octaves. It goes more than 3 octaves beyond our hearing range.\n\nIt can be played going up by lowering the upcoming note that is out of range of your instrument by as many octaves as possible, and continuing on up, until the starting note reoccurs twelve notes away­. Going down is the reverse procedure.\n.\n\n.\nInterval 12 semitones :\n\n0 12\n_ 0 12\n_ _ 0 12\n_ _ _ 0 12\n_ _ _ _ 0 12\n_ _ _ _ _ 0 12\n_ _ _ _ _ _ 0 12\n_ _ _ _ _ _ _ 0 12\n_ _ _ _ _ _ _ _ 0 12\n_ _ _ _ _ _ _ _ _ 0 12\n_ _ _ _ _ _ _ _ _ _ 0 12\n_ _ _ _ _ _ _ _ _ _ _ 0 12\n_ _ _ _ _ _ _ _ _ _ _ _ 0 12\n\nC C\n_ C# C#\n_ _ D D\n_ _ _ D# D#\n_ _ _ _ E E\n_ _ _ _ _ F F\n_ _ _ _ _ _ F# F#\n_ _ _ _ _ _ _ G G\n_ _ _ _ _ _ _ _ G# G#\n_ _ _ _ _ _ _ _ _ A A\n_ _ _ _ _ _ _ _ _ _ A# A#\n_ _ _ _ _ _ _ _ _ _ _ B B\n_ _ _ _ _ _ _ _ _ _ _ _ C C\n\ni12 creates 12 series of 2 notes separated by 1 interval of 12 semitones. Each series covers 12 semitones, or 1 octave.\n.\n\n.\nRepeating these simple non-musical series up and down your instrument should directly connect in your brain each note on the intrument to all the other notes its needs to be familiar with when playing music. But in a neutral, non-musical context.\n\nA second and different interval will be added to the first interval, making the series more complex. Then a third interval will join them. Soon all musical constructs should be encountered in a systematic way in this non-musical context.\n\nI found that intervals 1 to 7 semitones were easier to play and more important than intervals 8 to 12 semitones. If you want to duplicate these drills on a keyboard, you will find them difficult. But I have found an easier way to play intervals, which I will be showing you soon.\n\nThe patterns of interval 7 semitones will be studied in more detail in the next story. This will set the groundwork for applying the patterns of interval 2. Implementing the two series of interval 2, the two 'whole-tone scales', should make interval play much easier overall.",
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      "body": "Repeating an interval in semitones on the piano until the initial note is encountered reveals a unique pattern for each interval in the octave, and above.\n\nWe will diplay the patterns starting with interval 1 semitone and going up to interval 12 semitones. 0 is the starting note. Standard notation is used.\n\nThe starting note will be C, but this drill must be repeated starting with all twelve notes in the octave, going both up and down the full range of your instrument.\n\nThe drills are played with one hand, then the other. If you can play them alternating with both hands, which I haven't yet done, then do so. Each finger of each hand can also be used in turn as the starting finger.\n\n\n\nInterval 1 semitone :\n\n0 1 1 1 1 1 1 1 1 1 1 1 1\t--\tjump of 1 semitone\n\nC C# D D# E F F# G G# A A# B C -- standard notation from C\n\ni1 is a single series of 13 notes separated by 12 intervals of 1 semitone. This series covers 12 semitones, or 1 octave.\n.\n\n.\nInterval 2 semitones :\n\n0 2 2 2 2 2 2\n_ 0 2 2 2 2 2 2\n\nC D E F# G# A# C\n_ C# D# F G A B C#\n\ni2 creates 2 series of 7 notes separated by 6 intervals of 2 semitones (one tone). Each series covers 12 semitones, or 1 octave.\n\nThese are the two 'whole-tone scales' in classical theory.\n.\n\n.\nInterval 3 semitones :\n\n0 3 3 3 3\n_ 0 3 3 3 3\n_ _ 0 3 3 3 3\n\nC D# F# A C\n_ C# E G A# C#\n_ _ D F G# B D\n\ni3 creates 3 series of 5 notes separated by 4 intervals of 3 semitones. Each series covers 12 semitones, or 1 octave.\n.\n\n.\nInterval 4 semitones :\n\n0 4 4 4\n_ 0 4 4 4\n_ _ 0 4 4 4\n_ _ _ 0 4 4 4\n\nC E G# C\n_ C# F A C#\n_ _ D F# A# D\n_ _ _ D# G B D#\n\ni4 creates 4 series of 4 notes separated by 3 intervals of 4 semitones. Each series covers 12 semitones, or 1 octave.\n.\n\n.\nInteval 5 semitones :\n\n0 5 5 5 5 5 5 5 5 5 5 5 5\n\nC F A#\tD# G# C# F# B E A D G C\n\ni5 is a single series of 13 notes separated by 12 intervals of 5 semitones. This series covers 60 semitones, or 5 octaves.\n\nThis is the 'Circle of Fourths' in classical theory.\n.\n\n.\nInterval 6 semitones :\n\n0 6 6\n_ 0 6 6\n_ _ 0 6 6\n_ _ _ 0 6 6\n_ _ _ _ 0 6 6\n_ _ _ _ _ 0 6 6\n\nC F# C\n_ C# G C#\n_ _ D G# D\n_ _ _ D# A D#\n_ _ _ _ E A# E\n_ _ _ _ _ F B F\n\ni6 creates 6 series of 3 notes separated by 2 intervals of 6 semitones. Each series covers 12 semitones, or 1 octave.\n.\n\n.\nInterval 7 semitones :\n\n0 7 7 7 7 7 7 7 7 7 7 7 7\n\nC G D A E B F# C# G# D# A# F C\n\ni7 is a single series of 13 notes separated by 12 intervals of 7 semitones. This series covers 84 semitones, or 7 octaves.\n\nThis is the 'Circle of Fifths' in classical theory.\n.\n\n.\nInterval 8 semitones :\n\n0 8 8 8\n_ 0 8 8 8\n_ _ 0 8 8 8\n_ _ _ 0 8 8 8\n\nC G# E C\n_ C# A F C#\n_ _ D A# F# D\n_ _ _ D# B G D#\n\ni8 creates 4 series of 4 notes separated by 3 intervals of 8 semitones. Each series covers 24 semitones, or 2 octaves.\n.\n\n.\nInterval 9 semitones :\n\n0 9 9 9 9\n_ 0 9 9 9 9\n_ _ 0 9 9 9 9\n\nC A F# D# C\n_ C# A# G E C#\n_ _ D B G# F D\n\ni9 creates 3 series of 5 notes separated by 4 intervals of 9 semitones. Each series covers 36 semitones, or 3 octaves.\n.\n\n.\nInterval 10 semitones :\n\n0 10 10 10 10 10 10\n_ 0 10 10 10 10 10 10\n\nC A# G# F# E D C\n_ C# B A G F D# C#\n\ni10 creates 2 series of 7 notes separated by 6 intervals of 10 semitones. Each series covers 60 semitones, or 5 octaves.\n.\n\n.\nInterval 11 semitones :\n\n0 11 11 11 11 11 11 11 11 11 11 11 11\n\nC B A# A G# G F# F E D# D C# C\n\ni11 is a single series of 13 notes separated by 12 intervals of 11 semitones. This series covers 132 semitones, or 11 octaves. It goes more than 3 octaves beyond our hearing range.\n\nIt can be played going up by lowering the upcoming note that is out of range of your instrument by as many octaves as possible, and continuing on up, until the starting note reoccurs twelve notes away­. Going down is the reverse procedure.\n.\n\n.\nInterval 12 semitones :\n\n0 12\n_ 0 12\n_ _ 0 12\n_ _ _ 0 12\n_ _ _ _ 0 12\n_ _ _ _ _ 0 12\n_ _ _ _ _ _ 0 12\n_ _ _ _ _ _ _ 0 12\n_ _ _ _ _ _ _ _ 0 12\n_ _ _ _ _ _ _ _ _ 0 12\n_ _ _ _ _ _ _ _ _ _ 0 12\n_ _ _ _ _ _ _ _ _ _ _ 0 12\n_ _ _ _ _ _ _ _ _ _ _ _ 0 12\n\nC C\n_ C# C#\n_ _ D D\n_ _ _ D# D#\n_ _ _ _ E E\n_ _ _ _ _ F F\n_ _ _ _ _ _ F# F#\n_ _ _ _ _ _ _ G G\n_ _ _ _ _ _ _ _ G# G#\n_ _ _ _ _ _ _ _ _ A A\n_ _ _ _ _ _ _ _ _ _ A# A#\n_ _ _ _ _ _ _ _ _ _ _ B B\n_ _ _ _ _ _ _ _ _ _ _ _ C C\n\ni12 creates 12 series of 2 notes separated by 1 interval of 12 semitones. Each series covers 12 semitones, or 1 octave.\n.\n\n.\nRepeating these simple non-musical series up and down your instrument should directly connect in your brain each note on the intrument to all the other notes its needs to be familiar with when playing music. But in a neutral, non-musical context.\n\nA second and different interval will be added to the first interval, making the series more complex. Then a third interval will join them. Soon all musical constructs should be encountered in a systematic way in this non-musical context.\n\nI found that intervals 1 to 7 semitones were easier to play and more important than intervals 8 to 12 semitones. If you want to duplicate these drills on a keyboard, you will find them difficult. But I have found an easier way to play intervals, which I will be showing you soon.\n\nThe patterns of interval 7 semitones will be studied in more detail in the next story. This will set the groundwork for applying the patterns of interval 2. Implementing the two series of interval 2, the two 'whole-tone scales', should make interval play much easier overall.",
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      "body": "Perhaps, they might in the future.. But im still a small fish to them, I think.. so were probably ok for now.. I just started the channel a few weeks ago..  I really don't plan on using Youtube past uploading for steemit purposes...",
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      "body": "YouTube may not like the way you intend to channel all your followers from YT to Steemit, and find a way to retaliate against you. Find a way not to lose your 'social' capital.\nI'm looking forward to learning how to trade from your next video series.",
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      "body": "<html><p>If you like this article then <a href=\"https://duckduckgo.com/?q=site%3Asteemit.com+intervals+workout+musical+method+repeating+stimulates+playing+directly+theory+tune+play+semitones+creativity+nonmusical+instrument+interval+series\">click here to read more about the subject</a>.</p><p>(Keywords: intervals, workout, musical, method, repeating, stimulates, playing, directly, theory, tune, play, semitones, creativity, nonmusical, instrument, interval, series)</p></html>",
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      "body": "Instead of trying to learn music theory in order to change from within the areas I disagreed with, I decided to do without theory altogether, and to study music using the 'interval method'. Playing by ear is what I really wanted. And to play by ear, it seemed to me, you need to be able to jump from any one note to any other note, any ordinary distance or interval away. The ultimate goal is to fuse with your instrument.\n\nMy instrument was the guitar back then, which contains six strings, each string being itself a musical instrument. The piano would be a simpler and better instrument to learn to play using intervals, I thought.\n\nThat plan was put into action in 1997 twenty years ago. The method initially was to play a single repetitive interval, starting from any one of the twelve notes in an octave, going up and down all the notes in the instrument. Then repeating the series starting with each of the other eleven notes in the octave in turn. The interval could be any number of semitones, but the most practical range was from 1 to 7 semitones. Working 8 to 12 semitones is more difficult and would come later. So would repeating interval pairs and triplets or more.\n\nIf you dare playing single intervals on your instrument, you will discover that the level of difficulty varies quite a lot. Nonetheless, repeating a single interval is hard mental work for all intervals, and the brain tires quickly. Repeating +/- 0 5 5 5 5 ... semitones even one minute soon becomes unbearable, and impossible to continue without making mistake after mistake. The parts of the brain which execute this particular sequence become exhausted rapidly.\n\nThe mind, in order to rest, presents you with a tune to play. Even a difficult tune is much easier to play than the repeating interval at this point. You eagerly play the tune until you've had enough. It could be several minutes' worth. Rest properly.\n\nYou then go back to repeating the interval, or a different interval. The brain tires again quickly enough, and you play the new tune, or other musical task it provides you with, as best you can until rested.\n\nThis can be repeated five six or more times in one music workout, which for me normally lasts about one hour. Until you run out of musical energy.\n\nWhat happens about the 3rd or 4rth try is that the musical brain loosens up. And before you know it, you're not only playing the tune, but you're playing 'with' the tune. You modify it, extend it, take off from it... All these are easier to play than to repeat intervals.\n\nWhen the brain is warmed up, you can find yourself improvising, creating your own parts of tunes. Even as a beginner. You do need some rest, but you can be creating for ten or fifteen minutes during your workout of one hour.\n\nThe link between repeating non-musical intervals and musical creativity was evident from nearly the beginning. It was unexpected, and can be considered a bonus, a sign that the interval method is the right path to be on.\n\nThe link to creativity requires a thorough non-musical and musical workout, followed by a period of complete mental digestion, which can last many weeks.\n\nDigestion lasts until you feel the urge, or the signal that it is time, to 'play the piano' again, or whatever instrument you play. The signal for me is itchy finger tips.\n\nThe method developed slowly because I could only do a strong workout one hour every six weeks or so on average at the beginning. This period shortened slowly. The urge to play did not really return till then. The need to finish other tasks often prevented musical play. A musical workout then became a reward for getting a job done.\n\nI 'touched the piano' only for a few minutes often enough. When a tune popped into my mind, for instance, which I just had to try out. This showed me if I had enough musical energy to do an interval workout. 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Some of these patterns had practical implications for the organization and playing of music.\n\nThe method devised to learn to play by ear and do without musical theory altogether revealed patterns that show how music theory can be organized using all twelve semitones in the octave. Their application to theory revealed two paths or guides that could be followed to play by sight alone, with absolute precision. Their partial implementation in turn made learning to play by ear using the interval method much simpler, easier, and far less tiring.\n\nThe interval method is not fully developed or implemented yet. So we don't know all of its merits, or how far it can go.\n\nIn the next story, I will show how each interval was explored starting with interval 1 semitone, going up to interval 12 semitones. Then will come the analysis of the pattern created by interval 7 semitones, and the patterns created by interval 2 semitones which were understood later, and their practical results for music theory.",
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      "body": "Instead of trying to learn music theory in order to change from within the areas I disagreed with, I decided to do without theory altogether, and to study music using the 'interval method'. Playing by ear is what I really wanted. And to play by ear, it seemed to me, you need to be able to jump from any one note to any other note, any ordinary distance or interval away. The ultimate goal is to fuse with your instrument.\n\nMy instrument was the guitar back then, which contains six strings, each string being itself a musical instrument. The piano would be a simpler and better instrument to learn to play using intervals, I thought.\n\nThat plan was put into action in 1997 twenty years ago. The method initially was to play a single repetitive interval, starting from any one of the twelve notes in an octave, going up and down all the notes in the instrument. Then repeating the series starting with each of the other eleven notes in the octave in turn. The interval could be any number of semitones, but the most practical range was from 1 to 7 semitones. Working 8 to 12 semitones is more difficult and would come later. So would repeating interval pairs and triplets or more.\n\nIf you dare playing single intervals on your instrument, you will discover that the level of difficulty varies quite a lot. Nonetheless, repeating a single interval is hard mental work for all intervals, and the brain tires quickly. Repeating +/- 0 5 5 5 5 ... semitones even one minute soon becomes unbearable, and impossible to continue without making mistake after mistake. The parts of the brain which execute this particular sequence become exhausted rapidly.\n\nThe mind, in order to rest, presents you with a tune to play. Even a difficult tune is much easier to play than the repeating interval at this point. You eagerly play the tune until you've had enough. It could be several minutes' worth. Rest properly.\n\nYou then go back to repeating the interval, or a different interval. The brain tires again quickly enough, and you play the new tune, or other musical task it provides you with, as best you can until rested.\n\nThis can be repeated five six or more times in one music workout, which for me normally lasts about one hour. Until you run out of musical energy.\n\nWhat happens about the 3rd or 4rth try is that the musical brain loosens up. And before you know it, you're not only playing the tune, but you're playing 'with' the tune. You modify it, extend it, take off from it... All these are easier to play than to repeat intervals.\n\nWhen the brain is warmed up, you can find yourself improvising, creating your own parts of tunes. Even as a beginner. You do need some rest, but you can be creating for ten or fifteen minutes during your workout of one hour.\n\nThe link between repeating non-musical intervals and musical creativity was evident from nearly the beginning. It was unexpected, and can be considered a bonus, a sign that the interval method is the right path to be on.\n\nThe link to creativity requires a thorough non-musical and musical workout, followed by a period of complete mental digestion, which can last many weeks.\n\nDigestion lasts until you feel the urge, or the signal that it is time, to 'play the piano' again, or whatever instrument you play. The signal for me is itchy finger tips.\n\nThe method developed slowly because I could only do a strong workout one hour every six weeks or so on average at the beginning. This period shortened slowly. The urge to play did not really return till then. The need to finish other tasks often prevented musical play. A musical workout then became a reward for getting a job done.\n\nI 'touched the piano' only for a few minutes often enough. When a tune popped into my mind, for instance, which I just had to try out. This showed me if I had enough musical energy to do an interval workout. 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Some of these patterns had practical implications for the organization and playing of music.\n\nThe method devised to learn to play by ear and do without musical theory altogether revealed patterns that show how music theory can be organized using all twelve semitones in the octave. Their application to theory revealed two paths or guides that could be followed to play by sight alone, with absolute precision. Their partial implementation in turn made learning to play by ear using the interval method much simpler, easier, and far less tiring.\n\nThe interval method is not fully developed or implemented yet. So we don't know all of its merits, or how far it can go.\n\nIn the next story, I will show how each interval was explored starting with interval 1 semitone, going up to interval 12 semitones. 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      "body": "Instead of trying to learn music theory in order to change from within the areas I disagreed with, I decided to do without theory altogether, and to study music using the 'interval method'. Playing by ear is what I really wanted. And to play by ear, it seemed to me, you need to be able to jump from any one note to any other note, any ordinary distance or interval away. The ultimate goal is to fuse with your instrument.\n\nMy instrument was the guitar back then, which contains six strings, each string being itself a musical instrument. The piano would be a simpler and better instrument to learn to play using intervals, I thought.\n\nThat plan was put into action in 1997 twenty years ago. The method initially was to play a single repetitive interval, starting from any one of the twelve notes in an octave, going up and down all the notes in the instrument. Then repeating the series starting with each of the other eleven notes in the octave in turn. The interval could be any number of semitones, but the most practical range was from 1 to 7 semitones. Working 8 to 12 semitones is more difficult and would come later. So would repeating interval pairs and triplets or more.\n\nIf you dare playing single intervals on your instrument, you will discover that the level of difficulty varies quite a lot. Nonetheless, repeating a single interval is hard mental work for all intervals, and the brain tires quickly. Repeating +/- 0 5 5 5 5 ... semitones even one minute soon becomes unbearable, and impossible to continue without making mistake after mistake. The parts of the brain which execute this particular sequence become exhausted rapidly.\n\nThe mind, in order to rest, presents you with a tune to play. Even a difficult tune is much easier to play than the repeating interval at this point. You eagerly play the tune until you've had enough. It could be several minutes' worth. Rest properly.\n\nYou then go back to repeating the interval, or a different interval. The brain tires again quickly enough, and you play the new tune, or other musical task it provides you with, as best you can until rested.\n\nThis can be repeated five six or more times in one music workout, which for me normally lasts about one hour. Until you run out of musical energy.\n\nWhat happens about the 3rd or 4rth try is that the musical brain loosens up. And before you know it, you're not only playing the tune, but you're playing 'with' the tune. You modify it, extend it, take off from it... All these are easier to play than to repeat intervals.\n\nWhen the brain is warmed up, you can find yourself improvising, creating your own parts of tunes. Even as a beginner. You do need some rest, but you can be creating for ten or fifteen minutes during your workout of one hour.\n\nThe link between repeating non-musical intervals and musical creativity was evident from nearly the beginning. It was unexpected, and can be considered a bonus, a sign that the interval method is the right path to be on.\n\nThe link to creativity requires a thorough non-musical and musical workout, followed by a period of complete mental digestion, which can last many weeks.\n\nDigestion lasts until you feel the urge, or the signal that it is time, to 'play the piano' again, or whatever instrument you play. The signal for me is itchy finger tips.\n\nThe method developed slowly because I could only do a strong workout one hour every six weeks or so on average at the beginning. This period shortened slowly. The urge to play did not really return till then. The need to finish other tasks often prevented musical play. A musical workout then became a reward for getting a job done.\n\nI 'touched the piano' only for a few minutes often enough. When a tune popped into my mind, for instance, which I just had to try out. This showed me if I had enough musical energy to do an interval workout. Usually No, because I needed full reserves to do such intense work. My normal musical digestion period required several weeks. That was my natural rythm. Other people with more musical energy and more nimble minds could probably digest their workouts significantly faster. To each their own pace.\n\nOverall, I worked with the interval method about 25 to 30 hours per year, which is not much. Every time I returned to the piano, I felt many small improvements, which encouraged me to keep on at this slow but natural pace. This first period lasted 13 years, totalling around 300 to 400 hours of work.\n\nA second period began in 2010, seven years ago, when I discovered that each interval series, that was played until the initial note was repeated, had its very own pattern on the piano keyboard. Some of these patterns had practical implications for the organization and playing of music.\n\nThe method devised to learn to play by ear and do without musical theory altogether revealed patterns that show how music theory can be organized using all twelve semitones in the octave. Their application to theory revealed two paths or guides that could be followed to play by sight alone, with absolute precision. Their partial implementation in turn made learning to play by ear using the interval method much simpler, easier, and far less tiring.\n\nThe interval method is not fully developed or implemented yet. So we don't know all of its merits, or how far it can go.\n\nIn the next story, I will show how each interval was explored starting with interval 1 semitone, going up to interval 12 semitones. Then will come the analysis of the pattern created by interval 7 semitones, and the patterns created by interval 2 semitones which were understood later, and their practical results for music theory.",
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      "body": "Instead of trying to learn music theory in order to change from within the areas I disagreed with, I decided to do without theory altogether, and to study music using the 'interval method'. Playing by ear is what I really wanted. And to play by ear, it seemed to me, you need to be able to jump from any one note to any other note, any ordinary distance or interval away. The ultimate goal is to fuse with your instrument.\n\nMy instrument was the guitar back then, which contains six strings, each string being itself a musical instrument. The piano would be a simpler and better instrument to learn to play using intervals, I thought.\n\nThat plan was put into action in 1997 twenty years ago. The method initially was to play a single repetitive interval, starting from any one of the twelve notes in an octave, going up and down all the notes in the instrument. Then repeating the series starting with each of the other eleven notes in the octave in turn. The interval could be any number of semitones, but the most practical range was from 1 to 7 semitones. Working 8 to 12 semitones is more difficult and would come later. So would repeating interval pairs and triplets or more.\n\nIf you dare playing single intervals on your instrument, you will discover that the level of difficulty varies quite a lot. Nonetheless, repeating a single interval is hard mental work for all intervals, and the brain tires quickly. Repeating +/- 0 5 5 5 5 ... semitones even one minute soon becomes unbearable, and impossible to continue without making mistake after mistake. The parts of the brain which execute this particular sequence become exhausted rapidly.\n\nThe mind, in order to rest, presents you with a tune to play. Even a difficult tune is much easier to play than the repeating interval at this point. You eagerly play the tune until you've had enough. It could be several minutes' worth. Rest properly.\n\nYou then go back to repeating the interval, or a different interval. The brain tires again quickly enough, and you play the new tune, or other musical task it provides you with, as best you can until rested.\n\nThis can be repeated five six or more times in one music workout, which for me normally lasts about one hour. Until you run out of musical energy.\n\nWhat happens about the 3rd or 4rth try is that the musical brain loosens up. And before you know it, you're not only playing the tune, but you're playing 'with' the tune. You modify it, extend it, take off from it... All these are easier to play than to repeat intervals.\n\nWhen the brain is warmed up, you can find yourself improvising, creating your own parts of tunes. Even as a beginner. You do need some rest, but you can be creating for ten or fifteen minutes during your workout of one hour.\n\nThe link between repeating non-musical intervals and musical creativity was evident from nearly the beginning. It was unexpected, and can be considered a bonus, a sign that the interval method is the right path to be on.\n\nThe link to creativity requires a thorough non-musical and musical workout, followed by a period of complete mental digestion, which can last many weeks.\n\nDigestion lasts until you feel the urge, or the signal that it is time, to 'play the piano' again, or whatever instrument you play. The signal for me is itchy finger tips.\n\nThe method developed slowly because I could only do a strong workout one hour every six weeks or so on average at the beginning. This period shortened slowly. The urge to play did not really return till then. The need to finish other tasks often prevented musical play. A musical workout then became a reward for getting a job done.\n\nI 'touched the piano' only for a few minutes often enough. When a tune popped into my mind, for instance, which I just had to try out. This showed me if I had enough musical energy to do an interval workout. Usually No, because I needed full reserves to do such intense work. My normal musical digestion period required several weeks. That was my natural rythm. Other people with more musical energy and more nimble minds could probably digest their workouts significantly faster. To each their own pace.\n\nOverall, I worked with the interval method about 25 to 30 hours per year, which is not much. Every time I returned to the piano, I felt many small improvements, which encouraged me to keep on at this slow but natural pace. This first period lasted 13 years, totalling around 300 to 400 hours of work.\n\nA second period began in 2010, seven years ago, when I discovered that each interval series, that was played until the initial note was repeated, had its very own pattern on the piano keyboard. Some of these patterns had practical implications for the organization and playing of music.\n\nThe method devised to learn to play by ear and do without musical theory altogether revealed patterns that show how music theory can be organized using all twelve semitones in the octave. Their application to theory revealed two paths or guides that could be followed to play by sight alone, with absolute precision. Their partial implementation in turn made learning to play by ear using the interval method much simpler, easier, and far less tiring.\n\nThe interval method is not fully developed or implemented yet. So we don't know all of its merits, or how far it can go.\n\nIn the next story, I will show how each interval was explored starting with interval 1 semitone, going up to interval 12 semitones. Then will come the analysis of the pattern created by interval 7 semitones, and the patterns created by interval 2 semitones which were understood later, and their practical results for music theory.",
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      "body": "Great report dude!",
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      "body": "Hello to all of you,\n\nI now own some Steem coins. I am very pleased to have found this site. A big thank you to Greg Mannarino. I hope you will allow me and join in to develop the topic of applying the twelve semitones of the octave to the organization of music theory, starting with foundation theory. It is a big job that can only be accomplished by a group of eager people. The potential for music is enormous, in my opinion.\n\nTwenty years ago, I purchased a 4-octave Roland midi keyboard in order to learn how to play music 'by ear'. I had studied music when in school and on my own in my early twenties, and each time disagreed with how music theory was organized in three basic areas.\n\nFirst, I thought that all twelve notes should have a proper name. Since any chord or melody can be played starting from any of the twelve notes in an octave, this shows that all twelve notes are equal in potency. Yet the names of the notes derive from the seven white notes of the major scale, which is favored in the particular layout of the piano keyboard. These have a proper name, C D E F G A B. The five black piano notes do not have a proper name. Their names are relative to the two white notes above and below them. Ex. The note between C and D can be named either C sharp or D flat, depending on context. C# means C + 1 semitone. Db means D - 1 semitone. This requires adding and subtracting in order to name a black note, which adds difficulty, uncertainty and confusion.\n\nI have since created several complete notations, both by extending existing notations, and by imagining entirely new notations. I will be showing how naming can be extended to all twelve notes in a separate post. You are invited to post how you would name all the notes of the octave in replies to this post. Your work will be included in my future post if possible.\n\nSecond, the grand staff did not show the twelve notes found on all instruments. Instead it showed the white notes as either a white space or a black line, depending on the octave they were in. The black notes, not shown, were either sharp or flat the white space or the black line. Now that introduces even more complexity, as rules must be remembered and implemented in real time, in scales with variable amounts of sharps or flats. I don't think things can be made more difficult than this.\n\nI studied the grand staff and found that it was directly related to the layout of the lower white keys on the piano. This forced me to study the piano in detail, and I discovered that it has two very different layouts, the lower layout only containing the seven white notes of the major scale, and the upper layout containing all twelve notes of the octave, the chromatic scale.\n\nThere will be a separate post on a brand new staff which shows all the notes of the octave, such that they can be identified by sight alone, without the use of memory or following rules. Sight reading is much faster, less tiring, and less error prone. You can propose your own solutions in replies to  this post. The coming post might be called \"a new staff for reading and writing music by all\".\n\nThird, I disagreed with the use of the 'tone' because it was a variable unit, which covered either two tones or one tone. Variables are found in algebra, which is more complex than arithmetic. I knew that the 'semitone' should be the unit of measure, but could not find any justification for its use. I later found this justification in the patterns created by intervals 2 and 7 semitones. We will return to this subject later on. Using the semitone rather than the tone completely changes the way music is analysed. Most of this work remains to be done.\n\nThis first post will stop here. I'm already working on a post which describes the 'interval method' using semitones. I will show how playing non-musical series of repeating intervals directly stimulates musical creativity. Then how the note patterns created by some intervals suggest how music theory should be reorganized. This will take several more posts.",
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      "body": "@@ -782,16 +782,76 @@\n  0 4 3 5\n+ = C Major = any 'complete' major chord, repeating the root.\n %0A%0A%0AThe t\n",
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      "body": "Your method captures the two variable intervals, being either 3 or 4 semitones, between the three digits/fingers of the triad/chord. That is, you capture the essence of a basic chord.\n\nThe four triads can also be shown using whole numbers, representing the starting note 0, and the number of semitones to be jumped.\n\n0 3 3 = mm = diminished triad\n0 3 4 = mM = minor triad\n0 4 3 = Mm = major triad\n0 4 4 = MM = augmented triad\n\nBoth methods apply to any of the twelve notes of the octave.\n\nAs you mention, noodhoog, you can  add a fourth digit to the triad, with a variable third interval, to create four digit chords. \n\n0 4 3 3 = Mmm = M7 = Major 7th\n\nThis method allows for more digits, and intervals other than m = 3 or M = 4. All chords can be described this way.\n\nEx. C F G C = 0 4 3 5\n\n\nThe twelve-semitone interval method can describe the whole of music theory, which is currently organized around the seven notes of the major scale.\n\nI would like to present the octave as the unit of organization for music theory on Steemit. In short posts of my own.",
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