a world of music, based on the guitar,
and on visualinear tablature
You can contact Twelvemonth Music by mail at:
32 Winding Way
Southampton, New Jersey 08088
You can contact Twelvemonth Music by e-mail at:
Use this link to inquire about orders, or if none of the links given below is relevant to your purpose.
Use this link to submit questions about this website or about the books and music it features. Your questions may be used on an FAQ page if and when it becomes evident that such a page would be helpful to visitors to this website.
Use this link to make positive or negative comments about this website or about the books and music it features. Positive comments may eventually be used for endorsement purposes (full names will not be disclosed). Negative comments are not unwelcome, provided of course they are civil and relevant. Your reasoned criticisms will be carefully considered in the spirit of openness to making improvements to this website or to the visualinear tablature guitar series.
Use this link to express your possible interest in collaborating in the ongoing development of the visualinear tablature guitar series. Apart from some sorely needed guidance from a handful of individuals whose technological skill and knowledge far exceed my own, all of the progress made thus far in the development of this project has been accomplished single-handedly. A great many additional books are planned, however, and there are obvious limits to what I alone can accomplish, even in a labor of love. The continued development of the series could be greatly enhanced and accelerated by the royalty-based contributions of collaborators. A number of areas in which collaborative contributions are invited are detailed below.
Other Guitar Ensemble Music
It has been well demonstrated in the Guitar Ensemble Core Catalog that the guitar ensemble format is adaptable to a wide range of musical styles. This is especially true of the classical component of the GECC, and two sub-series of classical volumes are planned. The first will consist of collections of relatively simple pieces from specific periods in the history of Western music. The second will consist of collections of longer works, or movements from longer works, that are somewhat more challenging.
A third sub-series of guitar ensemble volumes will consist of collections of traditional songs from various countries around the world. These volumes will be patterned after the two Traditional American Songs volumes in the GECC, and will lend another dimension to the meaning of the “world of music” referred to in the title bar of this website. The arrangements they contain should be written by nationals of the respective countries, who uniquely enjoy the benefit of a lifetime of exposure to the music. A fourth sub-series of guitar ensemble volumes will consist of collections of various other types of music, including but not limited to Barbershop, Madrigals, Ragtime, Rounds, and Spirituals.
I would very much welcome inquiries from any capable individuals who might be interested in composing a book of guitar ensemble arrangements of songs of their native land. In truth, I have no doubt that there are a great many individuals better qualified than myself to at least select the repertoire for any of the other guitar ensemble volumes mentioned above, and I would welcome inquiries regarding those volumes as well.
Rhythm Guitar, a comprehensive introductory manual on rhythmic styles of play, guides the complete beginner through the development of an intermediate level of skill, and includes a number of different types of music. Readers who complete this study will have acquired sufficient knowledge and playing skill to allow them to pursue their development as a guitarist independently and in a self-directed fashion (that, in fact, is an important goal of the course of study in Rhythm Guitar). Many readers who resolve to continue learning and improving their playing skills will undoubtedly elect to take advantage of the resources of the Rhythm Guitar Core Catalog, and the attendant possibility for the gradual development of playing skills in a variety of styles.
Many others, however, will be more interested in pursuing a specific style of play or a specific type of music. This points toward the utility of a sub-series of Advanced Studies manuals, all of which would be based on, and in effect be a continuation of, Rhythm Guitar. I probably could and possibly eventually will write these studies myself, but I prefer that they be written by contributing authors who are more knowledgeable and more accomplished in the respective subject areas than I am. There are a number of subjects that could be addressed in Advanced Studies volumes, including but not limited to Advanced Flatpicking, Bluegrass, Country, Blues, Classical, Fingerpicking, Flamenco, Florid Fingerstyle, Folk, Jazz, Lead Guitar, Rock Rhythm, Slide, and Tunings.
Program For Printing Rhythmic Tablature
Apart from the obvious distinction between monophonic and rhythmic guitar music, the most evident difference between guitar ensemble scores and rhythm guitar scores is the fact that the ensemble scores are printed, while the rhythm scores are hand-written. Acquiring the capability to produce the rhythmic scores in a printed format would obviously be a considerable improvement. In developing a program for printing rhythmic tablature, there would be no need for translatability on-the fly among tablature, staff notation, and MIDI, as with the TablEdit program (which is used to print ensemble scores). Rather, all that would be required is the means to print rhythmic tablature scores. That said, although it would obviously be a far more ambitious undertaking, the conjoining of rhythmic tablature with audio, thus creating rhythmic e-scores, is another intriguing possibility. I would welcome the opportunity to discuss the creation of a program for printing rhythmic tablature with anyone capable of and interested in collaborating in this important way.
I am proud of what I have achieved in inventing visualinear tablature, and in employing guitar ensemble arrangements as a vehicle for learning about music, and in devising an effective course of study in rhythm guitar. I am even prouder of the fact that I have brought this project to fruition against very long odds and on a bare bones budget. When I resumed work on this project in the spring of 2001, after a hiatus of about 25 years, I quickly realized that the extensive amount of time and effort I had already invested was in pursuit of a goal that I had long since abandoned, and that I would basically have to start all over from scratch. I had virtually no computer skills, which obviously proved to be a decided handicap, as this has become a somewhat computer-intensive project. And all the while this work has proceeded, I have never really had the option of considering any but the most affordable alternatives for necessary expenditures. And yet in spite of these obstacles and limitations, I have managed to develop a series of books that, quite apart from their educational value, can be duplicated in a variety of ordering formats and in a professional enough manner that they can be offered for sale without apology and without pretension.
I believe I have achieved much of value in inventing visualinear tablature, and in employing guitar ensemble arrangements as a vehicle for learning about music, and in devising an effective course of study in rhythm guitar. I am proud of the fact that I have managed to bring this project to fruition against very long odds, given my complete lack of technological skill in the beginning, and given the fact that I have of necessity been restricted to a bare bones budget. The infusion of investment capital would present a number of new possibilities.
The most obvious use of investment dollars in advancing this project would consist of making improvements to the books and related materials that have already been developed. These improvements would have little to do with the actual content, but rather would focus on making a more professional presentation of that content. These are improvements that, despite their importance, I cannot make myself (or at least probably never will), given the constraints imposed upon me by a limited budget, limited technological knowledge and skills, and a finite amount of time.
All of the audio CDs could be improved upon by someone with more sophisticated software and with a greater degree of expertise in computer recording. All of the PDFs could be improved upon by someone with a higher quality scanner and a greater degree of familiarity with the Adobe Acrobat program. The print books could be improved upon by re-printing them with a higher quality printer, and by having them professionally scanned and then printed and bound on demand (which would eliminate the need for trips to the copy store and hand-binding). Even the e-scores could be improved upon, or at least made more consistent in appearance, by someone with a greater degree of familiarity with the TablEdit program.
All of the above described improvements could probably be effected by means of a relatively modest investment. A more substantial investment could make possible the more or less simultaneous initiation of all of the collaborative efforts described above, and perhaps more importantly also allow for the expansion of the series into the milieu of popular music, for which the commercial demand is obvious enough. In the realization of these possibilities, I am convinced that the investment required would be proportionately modest in consideration of the extensive, comprehensive, and uncommonly inclusive series of books, numbering well over 100 volumes, that would result.
Of course it remains to be seen whether these books, if and when they are completed, will ever enjoy wide success in the commercial and/or academic marketplace. Understandably enough, I believe very strongly in the educational value of this project, and I therefore believe that these books can become enormously popular commercially as well as academically. I will own, however, that this may well require a substantial additional investment in marketing and advertising. Even that is not a certainty, however, in light of the sometimes seemingly magical power of the Internet.
In any case, for me at least, this project has never really been about money. Any dreams I might have entertained of fame and fortune were either well-tempered or dispelled entirely long ago. Rather, this project is about my love for music, and more importantly it is about my profound desire to provide people with an easier and more effective means for learning about music and for learning to play music on the guitar. I believe that I have succeeded in accomplishing that somewhat ambitious goal. I would welcome an exploratory discussion with anyone who shares that belief, and who is in a position to consider becoming involved with this project as a potential investor.
- Click here to return to the top of this page