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#925286 - 01/22/04 03:31 AM graphic notation
btb Offline
4000 Post Club Member

Registered: 01/21/04
Posts: 4261
Loc: Pretoria South Africa
Hi Toronto Russ,
Thank you for the snappy reply.
However, forgive me, my question was loaded.
Sorry to have put you to so much trouble with all your well-meant encouragement for a beginner. As a retired architect with a lifelong passion for the masterpieces of the piano the thrust of your kind e-mail went out of the window. Blame the wish of a new boy to present a cryptic query and in so doing totally miss the target.
I use a graphic way of writing music where sight-reading is instant. The Computer Age has sped the conversion of the antiquated notation into it's graphic format. The system has enabled the playing of any Chopin Nocturne or Beethoven Sonata at the drop of a hat.
And this while my friends in the 400 strong UK Piano Teachers Group are battling away teaching rebellious pupils who hate to practice and end up without ever mastering sight-reading. Formal music sadly requires a self-defeating laboured process of note decoding, practice and memorisation.
And all because the ancient alphabetic "white note" stave wasn't revised to accommodate all 12 basic keyboard notes. A repeating 6-line stave eliminates, accidentals, changing key signatures, split staves and ledger lines.
Thank you for your interest. It would appear that you've not come across anybody else who uses a graphic system of music notation.
Kind regards,
btb

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#925287 - 01/22/04 11:28 AM Re: graphic notation
Kreisler Offline


Registered: 11/27/02
Posts: 13763
Loc: Iowa City, IA
I've seen several systems suggested over the past 10 years or so, but none have really succeeded.

The problem that exists, I think, is that most people looking to find a graphical notation system forget that standard music notation has a dual role.

First, it represents the sounds that one hears, and second, it represents what one does to get those sounds.

Also, there is the issue of how much help does the notation need to give a performer so that they: 1) can understand the composer's intentions, yet 2) find enough intepretive freedom to "read between the lines."
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