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Three Minute Introduction for Mandolin,
Tenor Banjo, and Violin |
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What the Cipher System is and how it works |
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In the Cipher System, two separate topics, the elements of music theory and the mechanics of fretboard patterns, are both taught using counting numbers (half-step or semitone value numbers).
This new set of numbers, 0° through 12° for the first octave of tones, is used to translate and help explain music theory’s standard diatonic (7-tone oriented) numbers and number-formula. Formula normally rendered like this (R, 3, 5, b7) become this (0°, 4°, 7°, 10°). We’ll be using and integrating both sets of numbers and number formula (standard and Cipher) at all times, but/and we’ll avoid using staff notation entirely.
The Cipher System consists of only four things:
1. A chromatic number-line . . .
. . . numbered 0° through 12° degrees marking the lettered tones of any chromatic scale. Those numbers, 0°–12° , (in red in Figure 1) are the semitone half-steps, the counting numbers.
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Figure 1
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2. Tables of translated musical number-formula . . .
. . . converting music theory's standard diatonic number-formula to chromatic or half-step (counting number) equivalents.
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Figure 2
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3. Fretboard navigator, the Seven Degree Calculation Line
The Seven Degree Calculation Line is a fretboard reference-line and counting-grid overlay. With it, you can plot tones and number formula on the mandolin fretboard using simple grids of chromatic counting numbers, i.e. half-steps. These are the mandolin’s most natural numbers, but they were invisible until now. This pattern of consecutive perfect fifth intervals (the red line of numbers 0°, 7°, 14°, 21° at left in Figure 3.) is natural to the mandolin’s standard tuning. It isn't new, it's always been there. But it's never been used before.
The Seven Degree Calculation Line is thoroughly movable. First, you can move it anywhere up or down the neck. Second, zero degrees, the tonic/root can be placed at any point within the greater line, i.e. on any string. So anywhere you put your finger, any coordinate of fret and string, can be called zero-degrees (the tonic/root). That zero-point becomes the starting-point of a simple counting-grid of chromatic numbers. Those chromatic numbers are then used for interval measurements, identification, and location. Intervals, of course, are the key to unlocking and understanding all of music theory and all of the fretboard.
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Figure 3
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4. The fretboard's built-in Pattern of Unisons and Octaves.
The Pattern of Unisons and Octaves is the most important fretboard pattern a mandolinist can learn -- whether he or she uses the Cipher System or not.
 The pattern is movable. It can be slid up or down the neck and aligned to any tonic, root-tone, or key-center (those three terms are basically synonymous). Depending on it’s positioning, the pattern shows all locations (all octaves and all unisons) of any given lettered tone. e.g. every A note, or every E note on the fretboard.
By itself, the Pattern of Unisons and Octaves reveals a great deal about the mandolin fretboard. But when it’s combined with the Seven Degree Calculation Line and chromatic value numbers the inner workings of the mandolin’s entire fretboard are lain bare and immediately understood. The Seven Degree Calculation Line, when it’s overlaid and linked to any tone of any Pattern of Unisons and Octaves, reveals the distances (and therefore the identities) of all neighboring tones. You can plot any sized area of the fretboard you choose.
The Cipher System itself is ridiculously simple. You’ve just seen the heart of it. But the standard mechanics and nomenclature of music theory, the material I will translate and explain, are not. Music theory’s standard notations and vocabulary are a ripe with confusion and questionable internal design, made worse by quick-fixes and jury-rigs. Much of our time will be spent making sense of that confusion. While you won’t be required to read staff notation here (or in the upcoming book), you will have to learn to understand music theory’s standard nomenclature (numbers, letters, and symbols) and standard number formula. Because you need that exposure, and you have to learn and use the standard names of things, I can’t insulate you entirely from those things that always made learning about music difficult in the first place — its mechanical design problems and initially confusing vocabulary (numbers and letters).
The Cipher System’s counting-number translations make learning about music infinitely easier to do, and it does in fact deliver the goods. But there’s much to learn about, and not all of it will be as easy as counting. Rest assured, the methods and numbers used here are one hundred percent compatible with music theory’s more common nomenclature and mechanics. The stuff of the Cipher System is natural to both music theory and the mandolin (or guitar) fretboard, but it was overlooked and underused for centuries.
Remember, the Cipher System uses Common Sense String Numbering Order. On this web site the numbering order of the mandolin’s four strings is the reverse of conventional string numbering order. Meaning, the lowest pitched string (G) is String 1, and the highest pitched string (high E) is String 4. All references to string number found on this web site are expressed accordingly. The reasons for this are explained here.
Note: two advanced reference components of the Cipher System round out and complete the system:
The Master Charts (master number-formula translation tables)
The Speller-Transposer
Where should I go from here?
I’d suggest you see these pages next:
More Introductory Information (If you need that now)
Mandolin Seven Degree Calculation Line
Mandolin Cipher Demonstrations
Mandolin Pattern of Unisons and Octaves (long, but worth it).
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Index of The Cipher for Mandolin (Tenor Banjo and Violin):
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