The BabySMART System draws from the Mozart Effect, but unlike Mozart, it is scientifically composed and engineered specifically for the stages of baby’s brain development.

Finished Mozart concertos or sonatas are complete works that happen to be very mathematical and symmetrical in structure, which is WHY it has been proven to help college students perform better in math-oriented testing  (see the Mozart Effect). HOWEVER...

Mozart was never intended for baby’s brain development!

In fact, Mozart – like most music – is FAR too complex to be processed on any level by an infant, baby or toddler.

You wouldn’t teach college-level algebra to a 3rd grader...  Why attempt to train baby’s brain with a complex music form such as Mozart, Bach or Beethoven? 

LISTEN TO THESE SAMPLES:
Notice how the music changes as it progresses in age groups.

Did you notice?
By CD #4, you may begin to recognize hints of Mozart’s compositional elements.  By the time we reach CDs 7 and 8, you will easily recognize it as Mozart-style concertos, but the music will continue to focus on the harmonic and melodic relationships and how they relate to math and cognitive reasoning.

All instrumental music can be broken down into 3 basic elements:

Pitch is the frequency of which the tone vibrates (musically speaking, it’s called the “note” that is being played, such as a key on a piano keyboard). Timing is WHERE the occurrences happen, and Timbre is the ‘shape’ of the sound itself (color or ‘character’).

The sounds used in the BabySMART System are the carefully chosen timbres of the acoustic grand piano combined with a pure bell sample struck lightly with a rubber mallet.  This combination provides an organic, soothing sound, while the bell timbre will help to peak the baby’s attention.

The “pitch and timing” elements are where the MATH comes in.

Breakthrough Pitch/Rhythm Mapping™

A newborn baby (0-6 months) is way too young to process BOTH pitch & timing.  Therefore, the BabySmart System CD#1 focuses on the mathematical benefits of ‘pitch intervals’ and - using a revolutionary method – actually MAPS the note occurrences directly to the pitch intervals. 

What does this mean?

Example:  Consider 2 notes on a piano keyboard.  They are spaced apart by one “octave”, (roughly 10 inches apart). The low note is struck first, followed by the higher note.  Using our unique pitch/rhythm mapping, the 2nd note would occur exactly 3.08 seconds after the first note.

NOW – Consider another 2 notes, the 1st note being the same as it was in the last example, but the 2nd note is now a 5th apart (roughly 6 inches).  The 2 notes are now CLOSER together, and the 2nd note would occur exactly 1.80 seconds after the 1st note, which is much quicker than the 1st example with the wider “interval”.

This is because the "5th" is closer than the "octave" - or to put it another way: The interval is smaller in the 2nd example, therefore the notes will occur quicker (by a consistently precise mathematical amount).

Pitch vs. Timing

In 99% of ALL music (all over the world), notes come in rhythm (in time pulse).

This pulse or beat is almost always UNRELATED to the pitches or notes chosen.  They are 2 separate art/sciences that together form music – as we know it in the contemporary world.

Much of popular westernized music focuses more on the ‘beat’ (timing), whereas most classical music tends to focus on the pitches. 

Mozart’s music had strict rules of which he applied to all his music, giving us repetition and mathematically-symmetrical pitch intervals.

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