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Thread: atonal notation

  1. #16
    Senior Member Phil loves classical's Avatar
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    Quote Originally Posted by millionrainbows View Post
    In set theory, the pitches are all placed on a straight number line, so they are assigned numbers. Intervals can then be determined by modulo 12 addition and subtraction.

    In notating this, however, we run into the same old diatonically-derived nomenclature of notation: clefs, letter-names, etc, all biased for the piano.
    I think you mean the piano layout and positions within the staff was based from the C major or A natural minor scale, that way, you have white keys and no accidentals for all 7 scale notes. The letter names corresponding to the A natural minor or Aeolian scale.
    Last edited by Phil loves classical; May-01-2019 at 04:49.
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    Senior Member millionrainbows's Avatar
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    Quote Originally Posted by Phil loves classical View Post
    I think you mean the piano layout and positions within the staff was based from the C major or A natural minor scale, that way, you have white keys and no accidentals for all 7 scale notes. The letter names corresponding to the A natural minor or Aeolian scale.
    Well, Phil, look at it this way. There are 12 notes, but only seven letter names. This holds true for both the keyboard layout, as well as the staff. And key signatures? Fageddaboutit!
    When a guitar player moves from E to F, it's only one fret. F to G is two. This is inherently illogical to simpletons like us.
    Last edited by millionrainbows; May-01-2019 at 13:11.
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    Quote Originally Posted by BabyGiraffe View Post
    ...

    Something interesting - alternative music notations for 12 equal - http://musicnotation.org/systems/

    More on temperaments -

    http://oro.open.ac.uk/21510/1/X_System.pdf
    https://oro.open.ac.uk/21504/1/tuningcontinua.pdf

    Looking over these charts and graphs makes me feel relieved that I don't have to begin studying music, especially on the academic level, to keep up with what's "new". I recall struggling enough to recall the anagram -- what is it now? -- Every Good Boy Does Fine. I don't think I have enough mnemonic space left to wrestle with all that new stuff.

    (Now, what was the other one? FACE? Hmm … rusty.)

    The irony is, of course, that I really love contemporary, experimental music. The fortunate thing, for me, is that I don't have to play it, or write it. Which is another reason I so admire contemporary musicians, composers, and artists in general.

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