Today’s inventiveness involves a new teaching method for music, a synesthetic approach to colorizing musical notes. The title’s quote comes from Franz Liszt, a 19th-century composer who was a synesthete—he saw music in full color.
Although western doctors probably think of synesthesia as a malady, I would suggest that it is a product of beneficial neuroplasticity. The brain has cross-wired itself across the senses to allow for better recognition and appreciation of something. There’s a long list of famous musicians and composers who wrote of this personal condition and in each case it helped them to succeed.
I have always had a fondness and an early aptitude for music. In fact, I had such a brilliant audible memory and an ability to play anything I’d just heard, that I used this as a crutch when confronted with the task of learning to read musical notation. I didn’t actually have to read the notation in band since the sound of the music was in my head. So although I was a slow reader with respect to notation, nobody actually could tell.
My earliest formal training was for the saxophone, noting of course that you only play a single note at a time. Unfortunately, this led to my later difficulties in learning to play the piano in my thirties. Piano chords on a stave? To me, this just seemed like jumbles of notes piled on top of each other. I had no easy way of interpreting what I was seeing.
After many weeks of painstakingly trying to decypher these heiroglyphics, if you will, I began to have a small breakthrough. My brain started to recognize some patterns. Due to some unfortunate timing, I had to stop all this training and abruptly move and had to sell the piano. It would be another decade until I’d bought another piano to re-learn piano notation.
Attacking the learning of chords-in-notation anew, I realize that colorizing the notes would be a benefit to me. All C notes are red. All E notes are yellow. C-E-G are primary colors (C-maj). The Eb in the middle of the C-min chord is more orange than the original yellow. A synesthetic approach to musical notation is a wonderful adaptation to a centuries-old teaching methodology I’d suggest, at least in my own case.