New Theory
Warning: The following breaks out of traditional theory, and attempts to find a simpler, more efficient, and over all better way to think about and use music theory. Please understand that at the time of this writing, this is all ideal speculation, and not actually practiced theory. With this disclaimer out of the way, let's continue.
I. Enharmonic Functionality
As of equal temperament, music has twelve pitch classes. Enharmonic spellings are still utilized, but still, enharmonic notes are played equally.
Generally, sharps go up and flats go down, but the enharmonic spellings illustrate different functionalities rather than actually diffent notes. (eg. Ger+6 vs Sw+6 vs Dom7 chords) Spelling matters.
But, spelling is no longer used when just listening, and once the voice leading and functionality is displayed in the proper context, the proper spellings could easily be assumed by most veteran theorists, based on the traditional practices.
Example:
dim7 chords can be written essentially 4 ways, depending on where they go.
B# D# F# A will usually resolve to a C# chord. (vii°/C#)
Enharmonically, D# F# A C will usually resolve to E. (vii°/E)
F# A C Eb will go to G. (vii°/G)
And A C Eb Gb will usually go to Bb. (vii°/Bb)
So instead, if you heard this mystery chord with any spelling, and it went to G, it would be safe to assume the notes were F# diminished seventh, with notes F# A C and Eb.
I believe this to be relatively simple.
If all these functionalities can be assumed (unless in an exercise book), then why not simplify the notes down to one name so it's all less?
II. The Janko Keyboard
The piano has governed the chromatic scale since equal temperament came into practice.
The piano gives us the notes:
C C# D D# E F F# G G# A A# B
This is a good start, but the piano's black notes were made out of neccessity, rather than functionality.
Enter the Janko Keyboard.
In the late 1800's, a musician named Janko made a new layout for the keyboard, where all keys are created equal - same size, ease from all notes, etc. This layout allows all notes to be renamed, with varying rows differing by halfsteps, and lateral notes always differing by wholesteps. The rows split the notes into two groups of 6, rather than 5 and 7 like the traditional piano.
III. New Definitions
Using the equality found on the Janko Keyboard, we could rename the notes in the chromatic scale as:
A A# B B# C C# D D# E E# F and F#
Thus, G goes away, and there are 6 natural notes and 6 accidentaled notes, all alternating equally.
With this symmetry, music learning and writing becomes much simpler.
Previously, the major chords alone were:
(placed in groups for ease of access)
A C# E
D F# A
E G# B
C E G
F A C
G B D
B D# F#
C# E# G#
F# A# C#
G# B# D#
Gb Bb Db
Ab C Eb
Db F Ab
Eb G Bb
Bb D F
(*some enharmonics used)
But with the symmetrical chromatic scale, we instead have this:
Naturals:
A C D#
B D E#
C E F#
D F A#
E A B#
F B C#
Accidentals:
A# C# E
B# D# F
C# E# A
D# F# B
E# A# C
F# B# D
This way there are only 2 groups of Major triads, rather than 6 that may also result in being confused with other traid qualities. (For example, CEG is major, but ACE is minor in traditional theory.)
In fact, this division of two groups true for all versions of scales and chords alike. Instead of 12 different ways to think of concepts and formulas, you simply have 2. This can greatly improve learning speed, memorization, and even help with moving from one key to another.
Imagine moving from a tonic makor key its dominant key. (Traditional would be going from C Major to G Major)
Let's start with A major:
A B C C# D# E# F# A
The dominiant is D#. The C# is raised to D, and the scale starts on D# to become:
D# E# F# A B C D D#
This is true for all natural major keys. Here are all 6.
A B C C# D# E# F# A
D# E# F# A B C D D#
B C D D# E# F# A# B
E# F# A# B C D E E#
C D E E# F# A# B# C
F# A# B# C D E F F#
D E F F# A# B# C# D
A# B# C# D E F A A#
E F A A# B# C# D# E
B# C# D# E F A B B#
F A B B# C# D# E# F
C# D# E# F A B C C#
This is similar for accidental major keys moving to natural keys.
Moving to the dominant:
A# B# C# D E F A A#
In A# major, the dominant is E, and me move D to D# to get:
E F A A# B# C# D# E
This works every time.
A new system of this fashion can certainly add in speed, ease, and overall musicianship, with far less to memorize to get thesame results of the old system.
IV. Across All Instruments
And this is not just for piano. All instuments can adapt this system.
In fact, stringed instruments like Guitar (Bass, Uukulele) and Violin (Viola, Cello, String Bass) already utilize a system of fingerings that shift symmetrically. If you learn to play a scale on one of these instruments and wish to play any number of steps higher, simply shift your hand up to the proper fret (position) and play again. The Janko keyboard can do this as well, but a traditional keyboard cannot.
For all melodic instumets (brass and woodwinds alike) there would be no change, other than learning different names for finger positions.
In non-piano instruments, it can be a little strange to learn that notes like C and D are separated by C#, and G and A are separated by G#, but E and F have nothing in between. The answer as to why this happens, of course, is because of the piano layout. But with the newer system, this can finally be laid to rest, as every note has a unique sharp partner, and all notes are indeed (and finally) treated equally.
V. On Notation
Next to talk about would be actual notation.
This is easily done, with some new symbols.
Notes come in two colors - White and Black. White are used for natural notes, and black for the accidentals (sharped version)
On the staff, lines and spaces are moved to aide in ease of utilization.
Each line has two notes - natural and accidental version. This lets the staff hold more notes than traditionally, and improves readablity by preserving relationships between notes, no matter where moved.
Transposing from a natural key to a natural key is simple, as is accidental to accidental. Simply shift all notes evenly.
C D E F# transposed up a wholestep would become D E F A#, for example, and B# A# C F down 2 wholesteps would become F# E# A D.
Accidental to Natural or vice versa might be a bit more of a challenge, but no more difficult than traditional theory allowed when transposing.
VI. The More things Change...
Most things would stay the same, just mostly spellings of chords and scales would alter. Triads would still be the corner stones of harmony. The major scale would still be the main focal point of the scale world.
Adjusting to this system would be easy enough for most advanced theorists. The problem would be found in changing 400 years of tradition. The system we have been using does work, of course. But this new system might be the logical next step to help the musical language evolve and grow.
You can help by adapting your practices to this system. Submit sheet music using this notation. Share this idea with your other musicians. Conceptualize new things with this method. Help build a community that wishes to promote this new system. Let's make music easier for everyone!