The DODEKA method is a performing manner to approach musical theory and to write sheet music. Its conception, based on exact notation of the sound gaps, allows it to greatly simplify the current complexity of scoring.

The DODEKA system enables the transcription of all types of musical compositions but with a ratio that simplifies learning more than tenfold.

The elaboration

The first draft of the DODEKA-method was made at the time of a particular study in order to design a new way to transcribe music that would be able to replace the current but complex score system.

After various investigations, it appeared that to write all the notes on a staff of four lines was the best solution ; the notes are disposed on the lines, on the border of them and between them as well. On a mathematical level these four lines form three spaces, in which four note-locations are possible. This optimal layout allows us to obtain the representation of the chromatic scale’s twelve notes.

Mathematically, this writing system thus appears as being the most logical way to write music. A point that can easily be checked when new learners are confronted to this transcription system. The effectiveness and simplicity of the concept guarantee that the method is not threatened by another kind of system. The very competition, however, is with the one that has been used up to now.

An optimized system

The musical DODEKA-method is perfectly relevant to the physics of music. It therefore suits all instruments. The neck of a guitar, for example, naturally reproduces the layout of notes on DODEKA-staves.

The interaction between the instruments’ shape and the transcription of notes moreover facilitates learning music in an impressive way. The consistency of the concept is however limited to instruments with a piano-type keyboard. In fact, this kind of keyboard has been modelled on the conventional writing. Since this notation does not conform to reality, the piano keyboard is therefore shaped so that it modifies the musical logic in an aberrant way. It is indeed surprising to note that the inside part of a piano is built according to a chromatic succession absolutely identical to the one of the DODEKA-method whereas the keyboard’s layout then transforms this succession into another dispostion—black keys being shorter, and arranged between the white ones.

This artificial layout causes an unnecessary complexity. In the DODEKA-keyboard concept, each key is therefore similar to the other one, and there is no variations anymore in the length of the levers.