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08-19-2019, 09:29 AM   #292
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Join Date: Jul 2006
Posts: 1,198

Quote:
 Originally Posted by brainwreck If we keep everything about standard notation and only throw out the system of 7 letters and modifiers (sharp, flat, natural) in trade for a system of 12 letters, the staff notation grows by alot. In the 7 letters and modifiers system, we can represent multiple pitches per line or space of the staff. If instead we give each of the 12 pitches it's own letter, now we have to dedicate a line or space per pitch.
You know... That if we had named only 6 of the notes, and give the other 6 their sharp (♯), flat (♭), and natural (♮) symbols, we could've had reduced the staff to become even more compact vertically.

Quote:
 Originally Posted by brainwreck Ok. Let's throw out the staff in trade for octave rows. Now all 12 pitches of an octave are represented on a single row. If we want a different octave, we only need a new row above or below. That's pretty nice. But how do we spell out chords in this notation without clashing with octave rows?
Erm... the same way you start from the lowest note and stack them vertically. I know you would point out that doing it so will place the notes of the chords on a different row, hence - in a different octave range, correct? Well, not exactly because it would be:
1 - impossible to play
2 - they have grouping lines where also you coudl specify the root note and also if it is in a form of a [<chord> over a <base note>]
3 - spelling the chords can be done in a usual horizontal writing (it is shown in the examples - photos)

Quote:
 Originally Posted by brainwreck Also, having thrown out the dots, lines, and spaces, we have eliminated visual contours of dots (interval patterns) and stacked dots which represent chords (chord patterns), i.e., visual pattern recognition has been thrown away. It becomes not unlike looking at graphed sound waves vs. looking at the number sequences which make them up.
Not sure what do you mean here...
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