You are struggling to sight-readYou have problems remembering key signatures and accidentalsYou are tired of the forest of accidentals in modern musicYou are frustrated by dyslexia or your working memory

If:

Why not try

www.SimplifiedMusicNotation.org

Inside...

World-wide Academic Support

Instructions

Free Score

Catalogue

SimplifiedMusic

Notation?

Contents

History of Simpli�ed Music Notation................................................................2

Key perfect books....................................................................................................3

Simpli�ed Music Notation: what is it?...............................................................4

What are the bene�ts?............................................................................................5

Transcription example from Key Perfect one.................................................6

Transcription example from Intermediate three...........................................7

Sight-reading and the working memory.........................................................8

The working memory and Simpli�ed Music Notation................................9

Simpli�ed Music Notation Sibelius plugin....................................................10

Key Perfect catalogue...........................................................................................11

Catalogue of books and individual scores..............................................12-14

Order form................................................................................................................15

Bibliography...............................................................................Inside back cover

“I bought Intermediate Volume 1 some months ago. It is a very enjoyable to approach music in more than 3 sharps and flats! As an adult learner and very much a second study pianist, I’ve found the most remarkable thing is that when going back to my regular practice pieces, certain troublesome passages have improved, especiallly involving block chords and runs, possibly because when using Simplified Music Notation one is able to concentrate on intervals and patterns once the key signature is dispensed with.

As a way of freeing up the mind from clutter (like double flats and sharps) it is quite amazing. I shall certainly be ordering another book soon.”

Julie Hercock, Head of Music, Marist Prep School, Sunninghill.

“Simplified Music Notation is absolutely excellent! I am fully convinced that your system would save music students much unnecessary effort. ... Within seconds of starting to look at your music examples, I found myself reading the Simplified Music Notation versions much easier than the orginals, even though I’ve known some of the works quoted for many years. .. And I’ve just found, the re-learning can be done in seconds, or at least minutes!” Ian Milnes, BSc (Hons) MPhil, Viola and violinist (studied with Eta Cohen); Former P/T teacher

“Brilliant! I just wanted to thank you; your work has made my life a lot easier! I did my grade one exam nine years ago and hadn’t gone back to the piano since. Now within just one day I am playing Claire de Lune with your help. Thanks.”

Laura Elmes, adult learner/customer

SimplifiedMusic

Notationbecause . . .

The history of Simpli�ed Music Notation

Sight-reading can, for many, be one of the most di�cult aspects of learning to play amusical instrument. Simpli�ed Music Notation is a notation-based learning tool designed to overcome this problem and make reading music simpler. It gives players complete freedom in all keys right from the start whilst developing skills in reading traditional notation.

Its inventor, Peter Hayes George, began learning the piano as an adult. He was well aware that his working memory was far from perfect: for example as a professional actor he had always struggled to remember long speeches. However, he thought that learning to play an instrument would be relatively easy because, unlike the theatre, you are allowed to keep the music in front of you while you perform.

So it came as a bit of a shock to realise that in fact, whilst reading music, one has to remember all sorts of things: what the key signature is, which accidentals have appeared previously ina bar, and which notes are no longer accidentals in the next bar.

The mental e�ort and feats of memory required just to read the notes came as a surprise. Surely, music should be as easy to read as possible, allowing the player to concentrate on inter-pretation and musicality?

As he laboured to master the skill by day, by night Peter George was mysti�ed by dreams he was having of triangles, squares and other shapes �oating about in space. Then one day, during a particularly frustrating piano lesson, the idea came: why not use di�erent shaped note heads to indicate whether a note is sharp or �at? That way, the player would automatically know how to play each note without needing to recall any additional information.

This simple change kept all the best aspects of sta� notation, was quick and easy to learn and limited the unnecessary demands that traditional notation makes on the memory.

Peter George discovered he was not alone in �nding sight-reading a problem. Reading music presents particular di�culties to those with poor working memories, learning di�culties such as dyslexia or attention de�cit disorder, and to people with visual impairments. But there are many people with no diagnosed ‘problem’ who also �nd reading music �uently to be a real struggle. Some muddle along, relying on other skills to overcome their di�culties, such as a good ear or the ability to memorise a piece quickly. Others simply fall by the wayside and, unable to master this essential skill, give up on learning music altogether.

Believing that music should be accessible to everyone, regardless of their ability to perform the mental gymnastics required for sight-reading, Peter and his wife Annelie founded the Creative Arts Research Foundation, a charity which researches ways to make music learning more accessible to all. They worked for many years to develop Simpli�ed Music Notation, consulting widely amongst music professionals, where the idea was generally very well received by teachers and performers. Supporters include: Acker Bilk, Carl Davis, Sir James Galway, Dame Evelyn Glennie, Kató Havas, Howard Shelley, Roger Woodward and in particular John Kember and John York who composed and compiled the Key Perfect piano repertoire books for beginners. It is the hope of all involved in making these books that it will indeed make music learning more accessible to everyone, and help those who struggle with sight-reading discover just how enjoyable it can be…

xxx xxx

xxx 2

Key Perfect books

John Kember studied at Trinity College of Music. Since then he has enjoyed a full and varied career in both performing and academic spheres. Activities range from teaching, composing and arranging to working as a pianist and conductor in concert halls, theatres and recording studios across the UK. He has a busy private teaching practice in south-east London and tutors students at the Kent Music Academy. He examined for the Associated Board of the Royal Schools of Music from 1989 until 2005.

He currently has over 70 publications available with Faber Music and Schott Music in London including a 21-part series of sight-reading books, 7 books of string quartet arrangements and numerous books for the jazz pianist including his Jazz Studies, Jazz Piano Player and On the Lighter Side series.

John York’s career was launched 36 years ago when he was awarded the International Debussy Prize in Paris, and it has taken him around the world as soloist with such orchestras as the London Philharmonic and London Mozart Players, and as a chamber music partner, primarily with cellist Raphael Wall�sch and (with his wife Fiona) in the piano duo team of York2.

John composes, contributes as journalist to the musical press and works with students of the highest level at Astona International of Switzerland and the Australian National Academy in Melbourne. In the UK he was Professor for 33 years at the Guildhall School of Music and Drama and is Senior Music Head at the illustrious St. Paul's Girls' School in London.

Key Perfect composers

John Kember

John York

The Key Perfect series are early-grade repertoire books that make it possible for learners to be perfect in any key right from the start.

The two �rst books in this series are for the piano and were compiled by John York and John Kember. They also wrote manyof the compositions and the pedagogical notes introducing each piece. The Creative Arts Research Trust also ran a competition for new composersand selected �ve compositions for inclusion in the Key Perfect books.The series ‘A More Rational Approach to Traditional Music Notation’ has piano compositions from grade 2 to grade 8+ for more advanced students.

Recitals and a sight-reading workshop can be viewed on www.simpli�edmusicnotation.org. .

3

Summary of common symbols

Symbols

Sharps

Flats

Double SharpHistory Sign

Double FlatHistory Sign

TraditionalNotation

SimplifiedMusic Notation

SHARPS

FLATS

DOUBLESHARP

DOUBLEFLAT

=

=

=

=

Sharps and flatsare each represented by their own unique symbols.

Double sharps & flats are written at the pitch at which they are actually played. Such notes are marked by a 'History Sign' which signals how they were originally written but can be ignored whilst playing.

Simpli�ed Music Notation is a training aid to help develop sight-reading skills and encourage students to overcome their fear of di�cult keys right from the start. It is designed for learners in general as well as students with working memory problems and other learning di�culties. It can also be helpful for more advanced musicians, especially in modern music.

You no longer have to remember:

the key signature whilst playing(even though it is still there)to carry accidentals through the barto cancel accidentals at the end of the bar

Nothing is lost:

Simpli�ed Music Notation keeps all the original information in the score intact. However, it removes the need to remember accidentals and key signatures whilst playing.

Easy to learn - complementary to traditional notation:

"I was surprised how simple it was to adjust to your system: I was able to sight-read fluently within a minute or two. This in itself indicates the enormously increased accessibility of printed music to those who would otherwise be discouraged by conventional notation."Henry Herford, MA(Hons), ARNCM, GRNCM; Internationally renowned singer

Why improve sta� notation?

“Musicians are generally so accustomed to sta� notation that they do not stop to re�ect upon its defects. .... A glance at a page from, say, a work of Boulez or Stockhausen, should be convincing to any musician who maintains that the present notation is ‘good enough’. It is certainly not ‘good enough’. ... The inventor of any reasonably thought-out reformed sta� notation can claim that he is o�ering the means of saving several years of music study or, alternatively, of freeing students from reading di�culties in order that they may devote themselves more completely to other aspects of their work.” Scholes, P. Oxford Companion to Music

Simpli�ed Music Notation - what is it?...

“I feel this is an important development in music.”Carl Davis, CBE (Hon.), BAFTA Award-winning Composer, Conductor

4

. . . and what are the bene�ts ?

Solves working memory problems: “I find myself enthusiastic concerning this novel and beautifully simple solution to the memory difficulties suffered by so many musicians, both professional and amateur."Emanuel Hurwitz, BCE, FRAMInternationally renowned Violinist

Easy to switch between standard and new notation: “Simplified Music Notation is straightforward and logical - the fact that it is based on the traditional system means that those who have studied (it) can approach traditional notation without abandoning what has already been learnt.”Emeritus Prof. Dr Ronald Woodham, DMus, FRCO, ARCM, University of Reading

Helps learning to read music:

“I tried Simplified Music Notation out today at school with immediate success. A group of secondary pupils aged 14 who can read simple melodies in C were able to play comfortably in A major using your technique.” Robert Norris, LGSM,ARCM,GGSM,MTC, Pianist, former Director of Music, Albany School

Take a lookat our Key Perfect

exampleand our advanced

book excerpt

Reduces clutter:

“There is no doubt in my mind that the value [of Simplified Music Notation] in the earlier stages of learning and playing music will be invaluable. The morass of accidentals in chromatic music is quite absurd and points in fact to the obsolescence of the current notational system.”Dr Ronald Senator, PhD, FTCL.,Composer, former Professor Guildhall School of Music

Frees player to concentrate on musicality, rather than just notes:

Your concise clarification of sharps and flats alleviates retentive memory problems and leads to the quicker learning of pieces, thus giving more time for interpretative aspects."Dr Herbert Winterbottom, MSc, FNSM, FRCL,FRSA, LRAM, ARCM;Organist; former Examiner & Professor of Music

Assists those with learning disabilities:

“It has been my experience that students with learning disabilities have an extremely difficult time reading music. Consequently, I see many students with great gifts of music ability fail because they are unable to master the skill necessary to succeed. Simplified Music Notation seems to be a solution to success."Suzanne Guisasola Salvo, M.Ed. Director, Office of Disability Services, Ashland Univ.

Traditional Notation

Simpli�ed Music Notation

FlatNote Head

SharpNote Head

Key Signature

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From: Air in D minor by Henry Purcell (Key Perfect Two)

5

From: Key Perfect One

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John Kember

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the ‘blue note’ (B flat) giving the piece its character

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John Kember

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6

Comparison excerpt from Intermediate 3 (Grades 7-8)

Prelude, Op. 11, No. 10 - Alexander Scriabin

Simplified Music Notation

____________________________________________________________________

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7

Sight-reading and the working memory

Sight-reading

Sight-reading is an integral part of learning to play an instrument and is absolutely vital for performers to master. According to Ji In Lee in his book ‘Component Skills Involved in Sight-Reading Music’ (2004): “Sight-reading seems to be a complex combination of skills which consists not only of expertise, but also of cognitive skills and psychomotor optimisation.” He shows that there are many processes involved during the task of reading music, especially when one is reading music for the very �rst time. Therefore, music problem-solving is extremely necessary in sight-reading, which is complicated by the fact that external demands on the musician divert some attention away from the reading task. In such instances the readers have to either remember or, if they can not, be relegated to simpli�ed pieces.

The working memory

It is almost paradoxical to talk about memory in sight-reading since the very nature of sight-reading would seem to contradict the importance of recall. However, in traditional notation the link between sight-reading and memory is unavoidable as musicians have to rely on their working memory to keep relevant and complex pieces of information active in their mind.

‘Chunking’

Humans are able to process these complex tasks involved in sight-reading by what is known as ‘chunking’. Chunking refers to the process of grouping responses whilst performing a task. For example the key of C major has a set of rules that make learning easier. The individual thinks of the notes in a particular key (chunking) rather than each individual note within that key.

Even though helpful, chunking only partially solves the problem. Not only do players have to become utterly familiar with the large number of key signatures in music, but in particular, they have to remember all the modi�ying accidentals whilst sight-reading. This is di�cult for many beginners and a huge feat of memory for advanced musicians in more complex music where accidentals only too frequently litter the staves.

Limitations of the working memory

In the comprehensive work ‘Psychology for Musicians: Understanding and Acquiring the Skills’ John A. Sloboda et al. point out that sight-reading and memory skills can be improved with training. They also introduce the notion that professional musicians have acquired a privileged access to their long-term memory and that this is a crucial feature underlying sight-reading, ear-playing and memorised performance (recall).

However, in spite of the obvious bene�ts of training, the most recent research in working memory and sight-reading suggests that working memory has a limit with regards to sight-reading. Those who have a better working memory would be more likely to become virtuosos than those whose memory su�ers slightly.

In a recent study at Durham University, researchers found that about 10% of children might have a “working memory impairment” which leads to “under-achievement”. In Great Britain alone, they thought this could mean that about 500,000 school children could be a�ected in that manner. At the same time, in numerous peer reviewed journals music tuition has been identi�ed as stimulating mental skills, such as mathematics and speech, thus improving the academic performance in children. What a pity it is, therefore, that music has a written language that, because of its inherent dependence on memory, puts it beyond the reach of so many people.

8

SHARPS

=

=

Traditional Notation Simpli�ed Music Notation

FLATS

The working memory and Simpli�ed Music Notation

You simply play what you see

The advantage of Simpli�ed Music Notation is that it allows poor sight-readers to enjoy the music as written by the composer because the pitch of the notes is indicated by their shape and players can simply play what they see!

As a result, Simpli�ed Music Notation manages to signi�cantly reduce the amount of working memory needed to sight-read e�ectively. Taking on board the aforsesaid research, it facilitates memory retention by reducing the number of processes that are involved in sight-reading. Consequently, players are able to use their ‘capacity’ in order to accomplish a higher level of di�culty than would otherwise have been achievable.

Furthermore, the Creative Arts Research Trust is in the process of approaching neuro-psychologists across Europe and the USA in order to fully understand the di�erence between traditional and Simpli�ed Music Notation in respect to the working memory.

Sharps and �ats

The main di�erence with traditionalnotation is that in Simpli�ed Music Notation all sharps and �ats are represented by their own shaped noteheads. The traditional oval note is used where a note is natural.

Key signature

In order to be able to fully bene�tfrom the advantages of the ‘chunking’process, the key signature is still there,at the start of each line. Players justdon’t need to refer to it whilst playing because the pitch is always indicated by the shaped noteheads. The only di�erence with the traditional key signature is that the Simpli�ed Music Notation symbols are used instead of the standard sharps and �ats.

No re-learning

No re-learning is required for Simpli�ed Music Notation as it is based on traditional 5-line sta� notation, allowing players to switch easily between the two. This is why all pieces in the Key Perfect series of early-grade books show Simpli�ed Music Notation on the left-hand page, with the traditional notation version of the same score on the right. In this way students can chart their own progress in becoming �uent readers, not just in Simpli�ed Music Notation but also in traditional notation. These small but vital changes in Simpli�ed Music Notation mean that musicians can play each note exactly as it appears on the page, without having to make a mental adjustment for key signatures or accidentals. Through these techniques Simpli�ed Music Notation allows the memory to focus on playing style, note accuracy and expression, whilst eliminating the struggle of having to remember each individual note.

=

=

SHARPS

FLATS

9

xxx xxx

xxx

Simpli�ed Music Notation Sibelius plugin

How it worksThe plugin allows anyone who is using Sibelius 5 or 6 to convert any music to Simpli�ed Music Notation.

The plugin can be automatically installed and is then listed in the plugin menu of your Sibelius program as ‘Simpli�ed Music Notation converter’. You simply click on the plugin to convert to Simpli�ed Music Notation. Click on the plugin again to restore the music to its original traditional notation format.

How does it help?

If there is a tricky piece that you have always wanted to play, you can now do so without the laborious pursuit of sight-reading di�cult keys (even though the key signature is still there) and working out the pitch of the notes.

The plugin allows teachers to switch at a click between traditional and Simpli�ed Music Notation to meet the demands and struggles in the classroom, thereby helping students to overcome sight-reading problems. The plugin will also bene�t the professional musician and composer in respect of accidental-littered chromatic and atonal music.

As a learning aid, a teaching aid, or for personal use, the plugin removes the rigidity and tedium of traditional notation and introduces a fun, more rational approach to reading music.

Use in the classroom

Sibelius software is used in the majority of UK schools. The Simpli�ed Music Notation plugin is an excellent teaching aid for the classroom environment. It signi�cantly narrows the gap in levels of musical competence between students. They all can now simply play what they see, thereby enabling them to perform their pieces �uently much sooner!

Network deployment

The network deployment method of installing this plugin is suited to IT administrators and manag-ers who need to install it onto a large number of computers, or in any situation in which it is not feasible to install singly onto each computer. The plugin will be installed as part of each computers startup procedure.

Purchase

You can purchase the plugin via our website www.simpli�edmusicnotation.org.Alternatively you can use the order form enclosed or contact us directly.

Price: £20.00

10

Volume TwoGrade 2 level

PianoBe perfect in any key

right from the startwith

Simpli�ed MusicNotation

Compiled and composed byJohn Kember and John York

usingSimpli�ed Music Notation

an invention byPeter Hayes George

Key Perfect Early-grade repertoire books with pedagogical notes

®

Broadway nights, KemberRondo, BertoniVariation in A, Hob XII:2, HaydnKlezmernaut, HouseAllegro in B �at, MozartMenuet in D, L. MozartFolk song, KemberThe joker, KemberA line to in�nity, YorkLiebestod, KemberMinuet, YorkA trick with mirrors, YorkThe sick doll, TchaikovskyTo a wild rose, MacDowellGukkuk im Versteck, SchumannUn gros chagrin, SandréElidor’s capture, Carlile

Air in D minor, Purcell Questions but no answers, YorkMystery melody, KemberDolce, KemberMenuet in D minor, BachStand up straight, YorkScherzo in F, HasslerTarantella, KemberFantasia no. 10 in D minor, TelemannLook before you leap, YorkCowboys!, ShelbournRondo KV15/L (amended), MozartKV15, MozartAllegro moderato, Op. 136 No. 2, 1st mov., Reinecke

Key Perfect Volume Two - Grade 2 level

Volume OnePre-Grade 1 to Grade 1

PianoBe perfect in any key

right from the startwith

Simpli�ed MusicNotation

Compiled and composed byJohn Kember and John York

usingSimpli�ed Music Notation

an invention byPeter Hayes George

Key Perfect Early-grade repertoire books with pedagogical notes

®

Simple story, Gurlitt Horns and their echo, TurkVillage dance, WohlfartMelody in F, Kember Old German dance, PraetoriusFollow me, KemberPetite valse, KemberKeeping in shape, YorkSighs and cries, YorkFrog dance, BodenDetectives!, ShelbournSlithery snake, YorkTaking it easy, Kember Canon, Spindler Allegretto grazioso, GurlittMorning greeting, Bischo� Minuetto, Wilton Two little inventions, RybaWaltz, Kember Sad song, York Big time blues, KemberFive penny piece, KemberAndantino, Le Couppey

Passacaglia, KemberSad sighing, YorkTwo by two, KemberCantabile, KemberL’enfant sage, Gurlitt In disguise, YorkShaping up, KemberStudy in A, CzernySure �re canon, KemberStudy in E �at, DuvernoyUp-beat two step, KemberLesson in D, Brunner Run and jump, YorkHappy go lucky, Kember Simple syncopation, KemberJumping beans, Kember Sad at heart, Fuchs Ground bass, KemberSaraband, PurcellAllegro moderato, Clementi Broken dream, Holm-Mercer Study in D, CzernyMorning greeting, Gurlitt Study in F, Duvernoy

Key Perfect Volume One - Pre-Grade 1 to Grade 1

Key Perfect contents

Be perfect in any key right from the start with Simpli�ed Music Notation

Every compositon in the Key Perfect books is shown with Simpli�ed Music Notation on the left-hand page and traditional notation on the page opposite

so students can see how their sight-reading is progressing

£9.95

£9.95

Available fromwww.Simpli�edMusic

Notation.org

11

12

13

14

ORDER FORMBooks and Individual Compositions

Name and address: Tel:

Email:

Please send me the following items (fill in as appropriate):

TITLE PRICE Quantity TOTALKey Perfect - Early-grade piano compositionswith pedagogical notes:

1 Volume One (pre-grade1 to grade1+) £9.952 Volume Two (Grade 2 level) £9.95

A More Rational Approach to Traditional MusicNotation - Piano:

3 Elementary 1 £9.954 Elementary 2 £9.955 Intermediate 1 £9.956 Intermediate 2 £9.957 Intermediate 3 £9.958 Advanced 1 £9.959 Advanced 2 £9.9510 Classical Favourites £9.9511 Jazz Favourites £9.95

Individual Compositions - Piano:12 Sonata in C minor, Op 13 Pathétique, Beethoven £5.9513 Sonata in C# minor, Op 27-2 Moonlight, Beethoven £6.5014 Sonatine, Op 20-2, Kuhlau £5.9515 Sonata in A, K331, Mozart £4.95

Individual Compositions - Flute and Piano:16 Romance, Saint Saëns £5.5017 Petite Valse, Caplet £5.50

Individual Compositions - Flute Solo:18 Syrinx, Debussy £2.90

Individual Compositions – String:19 Third movement of Quartet no. 13, for 2 violins,

viola and cello, Op130, Beethoven£15.00

20 Simplified Music Notation plugin for Sibelius software £20.00

Subtotal In UK: Please add £2 for first item and £1 for each additional item for: P&P: (Outside UK please contact us for a quote.)

TOTAL

• If ordering by post, please make cheque payable to: The Creative Arts Research Trust

Return form to: The Creative Arts Research Trust245 Kingsway,Hove, BN3 4HE,East Sussex

• If ordering by telephone, please contact us on: 01273 746-818(We accept card payments.)

• Orders can also be placed via our website at: www.SimplifiedMusicNotation.org

Bibliography

McPherson, G. Parncutt, R. The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learnig’, Oxford University Press. London, New York. (2002)

Lehmann, A.C., Sloboda, J. A., Woody, R. H., ‘Psychology for Musicians: Understanding and Acquiring the Skills’ Oxford University Press, New York. (2007).

Cross, I., Hallam, S., Thaut, M.H. ‘Oxford Handbook of Music Psychology’ Oxford University Press, London. (2008)

Williamon, A. ‘Musical Excellence: Strategies and Techniques to Enhance Performance’. Oxford University Press, Michigan. (2004)

Sloboda, J. A. ‘The Musical Mind: The Cognitive Psychology of Music’. Oxford University Press, London, (1986)

Deutsch, D. ‘The Psychology of Music’. Academic Press, London. (1999)

Lee, J. I., ‘Component Skills Involved in Sight Reading Music’. University of Michigan Press, Michigan. (2004)

Cowan, N. ‘Working Memory Capacity’. Psychology Press, U.S.A. (2005)

Meinz, E.J. & Hambrick, D.Z. (2010). Deliberate practice is necessary but not su�cient to explain individual di�erences in piano sight-reading skill: The role of working memory capacity. Psychological Science, 21, 914-919.

Hambrick, D. Z., Meinz, E.J., & Oswald, F. L. (2008). Individual di�erences in current events knowledge: Contributions of ability, personality, and interest. Memory and Cognition.

Pickering, S. J. ‘Working Memory and Education’. Academic Press, Oxford, New York. (2006)

Sloboda, J. A. ‘Exploring the Musical Mind: Cognition, Emotion, Ability, Function’. Oxford University Press, Oxford, New York. (2005)

Alloway, T.P., Gathercole, S.E. ‘Working Memory and Learning: A Practical Guide for Teachers’. Sage, University of Virginia, University of Durham. (2008)

Further reading

Simpli�ed Music Notation is an invention by Peter Hayes George.

The system of Simpli�ed Music Notation is protected by: European Community Designs No. 387014/0001-0010 andUSA Patent No. D545,889 S

The Creative Arts Foundation is a registered charity set up to research ways to make music-learning accessible to all. As part of this aim, the charity has supported the development of Simpli�ed Music Notation, which was invented with the intention of encouraging a much greater percentage of people, including those with retentive memory problems and learning disabilities to become more active participants in music.

The charity is funded by the Creative Arts Research Trust, a limited non-pro�t publishing company which sells books in Simpli�ed Music Notation. All pro�ts from UK sales of books and scores in Simpli�ed Music Notation will be donated to the Creative Arts Research Foundation to support music-learning for the disadvantaged.

The Creative Arts Research Trust245 KingswayHoveEast Sussex BN3 4HE

Tel: 01273 746 818E-mail: info@Simpli�edMusicNotation.orgWebsite: www.Simpli�edMusicNotation.org

© The Creative Arts Research Trust, 2010

Simplified MusicNotation

“As with most great ideas, it is easy to understand. I found I could play from Simpli�ed Music Notation after a few minutes familiarisation. I believe it could help all musicians - why not print all music this way in the future?”

Robert William Winder FLCM; LTCL; LRAM; ARCM Professor pianoforte