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Re: simplifying chromatic scale notation
From: |
Paul Morris |
Subject: |
Re: simplifying chromatic scale notation |
Date: |
Tue, 26 Jan 2016 11:13:13 -0500 |
> On Jan 26, 2016, at 8:18 AM, Sharon Rosner <address@hidden> wrote:
>
> Of all alternative systems discussed on this thread, the only one which is
> really appropriate for transposition is the "Lines a Whole Step Apart"
> system (http://musicnotation.org/systems/gallery/). There it is just a
> matter of moving the clef or switching the clef.
>
> The rest of them use either special note shapes for sharps/flats
> ("Clairnote", "Simplified notation"), which is not any better for
> transposition, or special note shapes for the in-between notes ("Twinline
> Notation").
>
> The OP's system uses Four vertical positions between staff lines (including
> on-the-line). How do you transpose that by half a step?
I see what you’re saying. Seems to me that transposing on the fly is generally
not an easy thing to do in any case, without a lot of practice.
Transposing by an octave is actually really easy in Clairnote. Transposing by
a major 3rd (or minor 6th) would be as easy as transposing by a semitone in a
“Lines a Whole Step Apart” system, since the lines are that far apart.
Transposing by a whole step would be next easiest, but...
Ultimately, I think you would learn to read and play by intervals and do it
that way. Making it easier to read by intervals is a strength of these systems.
> In contrast, in traditional notation you can easily transpose by moving or
> changing the clef and changing the key signature.
Well, there’s a lot of work that goes into getting to the point where this is
easy.
> Admittedly this is harder
> today with the modern accidental display practice (displayed once per bar),
> but 300 years ago musicians were able to do this on sight by imagining an
> alternative clef and key signature. See also the practice of Chiavette or
> chiavi transportate - transposition clefs.
Hmmm… Seems like this primarily works for music without accidentals. Does it
really work when you have a lot of accidentals?
Say a note that was a natural in the first key is a sharp in the new key… in
the music that note appears altered by a sharp sign… you have to read that
sharp sign as if it were a double sharp sign.
Or, say a note was a sharp in the first key, but is a natural in the second
key… and that note appears in the music altered by a natural sign… you have
to read that natural sign as a flat sign.
Or am I missing something?
-Paul
P.S. To musicus, apologies that this conversation has expanded beyond your
proposal… It seems I have a lot to say on this topic. I’ll try to pipe down...
- Re: simplifying chromatic scale notation, (continued)
- Re: simplifying chromatic scale notation, David Kastrup, 2016/01/26
- Re: simplifying chromatic scale notation, Sharon Rosner, 2016/01/26
- Re: simplifying chromatic scale notation,
Paul Morris <=
- Re: simplifying chromatic scale notation, Sharon Rosner, 2016/01/26
- Re: simplifying chromatic scale notation, Hans Åberg, 2016/01/26
- Re: simplifying chromatic scale notation, Hans Åberg, 2016/01/26
- Re: simplifying chromatic scale notation, Paul Morris, 2016/01/26
- Re: simplifying chromatic scale notation, Paul Morris, 2016/01/26
Re: simplifying chromatic scale notation, Kieren MacMillan, 2016/01/26