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Introduction<\/p>\n\n\n\n
Six years ago we put a musical production on our website: San Francisco \u2013 The Paris of the West. <\/em>It was in 12-tone scale and was the culmination of 60 years of work on the part of one of the authors in music theory. Our work on music theory began in an aborted fashion when one of the authors was six years of age. He had began to take piano lessons at age four \u2013 first with his aunt, then with a more conventional teaacher who utilized the normal music books to play: Schawn and Aaron. At that point, a miracle happened: A colleague of his father at the junior college where he taught became his piano teacher. This man had a procedure of his own \u2013 quite unique \u2013 very Powerful in every respect. Each lesson was split into two parts: First, there was the playing of classical music. This teacher did not believe in using the traditional type of piano books to teach students. He believed that classical music \u2013 as it exists \u2013 provides a wide range of difficulty \u2013 always able to present the student with the perfect piece that is suitable for him or her \u2013 at each stage in his or her development. Such it was that this author began playing actual classical piano pieces at that time. He not only was advancing in his ability to play pieces \u2013 simultaneously a repertoire of real classical pieces was building that he could play on various occasions.<\/p>\n\n\n\nBut this approach to the types of music a student would play \u2013 was only half of the miracle of this wonderful piano teacher: He also encouraged the student to compose his or her own music! The heart of this half of the piano lesson was centered on something he gave the author on the first day of piano lessons: The Circle of Fifths! Well, this will be presented – as it appears visually – in the text below. For now, let us just understand: Half of this author’s piano lesson was simply \u2013 ‘Mary Had a Little Lamb’ \u2013 which was not as innocent as it might first appear. Mr. Campbell would – right before the student’s eyes on printed staffs in a spiral book \u2013 would write before his eyes! \u2013 the melody for the tune and right above that the chords. Yes, chords! Here was a new world for the piano student. Yes, piano pieces are far more than just a bunch of black notes. When one day he or she might advance and be playing difficult pieces by Chopin \u2013 well, all those black 32 notes would not be merely dots that one had to play \u2013 they were embedded in a web of concepts called: Harmony! The Circle of Fifths at this point was not actually a tool for the student to use. It just was: Well, some pieces had a lot of sharps – some had a lot of flats. This could be disconcerting if not down-right frightening for one as he or she progressed those first years. But with the Circle of 5ths \u2013 all of these notes \u2013 became distinguishable as ‘scales’, with melodies and chords! These notes became more than notes \u2013 they became friends \u2013 good friends who we already knew a lot about. Fsharp with all those funny squiggles at the beginning \u2013 called ‘sharps’ – no problem \u2013 that key was located in our minds – right next to D flat and B natural \u2013 it had a home right next to those scales \u2013at the bottom of the Circle – and was their buddy. Fsharp had one more sharp than B natural – and Fsharp was the same as Gflat scale so it simultaneously had one more flat than Dflat See all was simple!: Before us \u2013 always sitting on the place where pieces were perched before us on the piano \u2013 always right next them in its own prominent and important place: Was that Circle \u2013 which became a pattern \u2013 which possessed the Power of extending to a student: Understanding and synthesis! One was never afraid to play anything! Music was Science! Music \u2013 was our friend! And once Mr. Campbell had shown one how to play ‘Mary’ and her lamb \u2013 with a melody in the right hand \u2013 and chords in the left – well, now a kid could compose \u2013 all by him- or herself! Because, as we say: He or she was learning that all the scales consisted of things called well, ‘scales’ of individual notes that could be played with the right hand\u2013 but also triads which gave one chords that could be played in the left hand. Basically these are the Truths that Joseph Haydn came up with – when he created 7-tone scale musical theory.<\/p>\n\n\n\n
So it was that this author began to compose at six years of age. Mr. Campbell was delighted. But this author decided that what he was doing was basically immoral and stupid \u2013 he was basically copying pieces he was playing. He would wait until his college years \u2013 and his study of the Beatles before he would attempt to develop an entirely new theory \u2013 of his own. The Beatles innovated in so many ways. There advances in musical theory were modest. Their producer, George Marin discouraged any forays into treacherous new harmoneis. Yet: ‘I Want to Be Your Man’ \u2013 and ‘I Saw Her Standing There’ – well, they were both in the key of C \u2013 and they each \u2013 possessed a \u2013 black note! A Bflat.<\/p>\n\n\n\n
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