I am a music enthusiast. I play the accordion and a little bit of the piano. I like to experiment with acoustic and electronic sounds.
While studying music, I always stopped because I couldn't rationally justify certain rules that I considered musical conventions from past centuries that are no longer justified, given the technology we have available today.
For this reason, I decided to study a much simpler system for writing music, thereby facilitating learning and reading, and after many attempts, I materialized a system based on the octave in which only three lines (equal to the first three lines of the treble clef) are used to write all music without the use of clefs, ledger lines, or double alterations.
For this reason, I decided to study a much simpler system for writing music, and thus facilitate its learning and reading, and after many attempts, I materialized a system based on the octave in which only three lines are used (equal to the first three lines of the treble clef) to write all music without the use of clefs, ledger lines, and double alterations.
I think you are referring to traditional notation; this simplification surprises me quite a bit because about half a millennium ago we went from 4 to 5 lines, also increasing the number of clef positions and introducing ledger lines precisely to simplify reading.
A setup that has (without effort) trained musicians of all ages and eras (we are talking about the Bachs, Chopins, etc. themselves)... but not to go too far, even those who make music today from pop to jazz, etc.
I am perfectly fine with 5 lines, septimclef, etc., and I experience no complexity... on the contrary...
Since I am always very open-minded, I would like you to describe your method in a topic, because it would be truly revolutionary... I ask you to also address a full score context of 30 lines... including transposing instruments and the different sections of the orchestra (from woodwinds to percussion).
How would it work with pf [pianissimo], if you had to transcribe a part of Rachmaninoff's Piano Concerto No. 3... in short, would everything be readable? Maybe post a little example, as I have a couple of students struggling with solfeggio... who might improve... you never know
Welcome SalvoJazz, how could I not share Ettore's post. I am left with a healthy curiosity regarding notation, given the well-established tradition in terms of writing/reading and your interest in electronics ... why not try to solve the problems where they actually exist?
I hope that anyway sooner or later you will describe your system, I didn't quite understand the discussion about double alterations which is usually more related to a tonal discussion than anything else...
I thank Ettore and the others for the attention paid and I hope to have satisfied the needs for knowledge of the system. In any case, I am available for further clarifications.
I will be absolutely grateful for your observations.
