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Old 08-17-2019, 01:44 PM   #209
brainwreck
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Join Date: Jul 2006
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Quote:
Originally Posted by superblonde.org View Post
another new system... apparently commercialized

twelve unique names for notes.

Dodeka


Dodeka suggests placing the chromatic scale on a new four-line structure.

After various research, the most effective and clear system to arrange the twelve semitones of the chromatic scale is on a set of four horizontal lines, in which the notes are placed in four different ways: on the line (C, E, G#); above the line (C#, F, A); between the lines (D, F#, A#); and under the line (D#, G, B).

By placing an entire octave within four lines, the Dodeka stave positions the notes in a logical and clear manner, which makes reading notes easy. In fact, this structure assigns a fixed position to every note in every octave, making notes directly identifiable. As shown in the below illustration, a C is always placed on the first and/or fourth lines.

With Dodeka, every note keeps its position in every octave.

...
To rename the semitones traditionally forgotten, Dodeka suggests using new letters, namely K, T, H, P, and V.
As mentioned earlier, the traditional method favours a scale at the expense of others. With Dodeka, there are no favoured scales and the notes on the keyboard are set out in a row. The musician has to learn how to construct any scale starting from the chromatic scale.



Images not showing here, but I did some searching and found what I was looking for.

It's interesting to me seeing any alternative notation system, although I don't see pitch or time being easier to read or write in that system.

I think the multi-line staff concept in general is majorly flawed to begin with. It's an unnecessary translation from one form to another. And I think the same is true for multi-symbol pitch notation systems. However it is that we talk about pitch is how we should notate it. If we talk about 'C' then we should write 'C'. If we say '0' then we should write '0'. I don't understand the approach of saying 'C', translating that to a different symbol form (shape on a line), then translating that to a position on an instrument, and the other way around.
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