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Re: aiming at 2.2: dodecafonic staves
From: |
Juergen Reuter |
Subject: |
Re: aiming at 2.2: dodecafonic staves |
Date: |
Sun, 5 Oct 2003 04:52:15 +0200 (CEST) |
On Sun, 5 Oct 2003, Heikki Johannes Junes wrote:
> ...
> I just figured out that in modern music the diatonic stave (seven pitches
> for chromatic scale in a stave) is not adequate to represent always
> dodecafonic music.
Agreed; the ordinary staff notation as implemented in lily was developed
for notating tunes in diatonic scales (IIRC, it was Guido of Arrezzo who
introduced this scheme, but originally with 4 lines).
> For example, if you want to represent parallel clusters
> (using the current notation), they will be glued together. Instead, a
> chromatic stave (twelve pitches for chromatic scale in a stave) is adequate
> to represent parallel clusters. The most intuive version of such scales is
> the following:
>
> As a diatonic stave, a cromatic stave would have five lines, starting from
> c'':
>
> c'' -O-
> b' O
> ais' -----O-----------------------------------
> a' O
> gis' ---------O-------------------------------
> g O
> fis' -------------O---------------------------
> f' O
> e' -----------------O-----------------------
> dis' O
> d' ---------------------O-------------------
> cis' O
> c' -O-
>
The problem is that there are many different opinions on how a staff for
contemporary music should look like. To me, suggestions often give the
impression of people carrying out a silly contest of who has the fanciest
idea for a new notation system (see http://speechskript.com/samples.htm
for some weired examples). I think we should not support a particular one
of these innummerable systems of equally low(?) quality. Either there is
a commonly agreed standard for dodecaphocic music to support (which I do
not see), or we should look at the underlying common principles and try to
provide a flexible mechanism such that the user can adopt lily to his or
her individual notation system.
> It is rather easy to implement, and chromatic marks are optional. The only
> obscurity here is in the note naming: How should one call the note names so
> that there would not be a conflict between cromatic marks and note names.
> For example, `c + is' is marked with a chromatic mark but `cis' without.
> Apparently, one has to
>
> A) invent a set of new note names for such notation, such as:
> - numbers: 1 2 3 4 5 6 7 8 9 10 11 12
> - alphabets: a b c d e f g h i j k l
> - user-given: c h r o m a n t i z e d (different letters)
>
> or B) use current note names and give the chromatic mark as an argument:
> - the following will result to same notation: cisis d eses
> - the following will result to chromatic marks: cis-is d es-es
>
I agree that a future version of lily should support vertical alignment of
pitches according to a chromatic scale rather than to a diatonic scale,
such that the vertical position of a pitch depends linearly on the
logarithm of its associated frequency (i.e., cisis=d=eses all result in
the same vertical position, with accidental engraver being turned off). I
agree, because this seems to be a common principle among most of the
suggested notation systems for chromatic scales. Apart from chromatic
scales, this principle is also common for frequency-based notation (such
as in the field of electronic music). The reason is clear: binding the
vertical position directly to the frequency is a simple, natural mapping
in any system with equidistant intervals.
I disagree with the idea of introducing "chromatic marks". Accidentals
are a result of transposing diatonic scales. In my opinion, they do not
make any sense in a chromatic scale. Of course, since lily's input
language is based on the 7 pitch names of a diatonic scale (letters a..g),
we currently need alterations "-is" and/or "-es" to express all of the 12
pitches of a chromatic scale. But this problem is orthogonal to notation;
it's just a matter of input language and should be discussed separately.
> Modern music has a lot of new notation, and many of them are good and
> intuitive. For example, accelerando can be marked with increasing number
> of bars (here only two notes are shown).
>
> /|
> -<-|
> | \|
> | |
> | O
> O
>
> Here the problem is that what is the mathematical duration of such
> construct. But anyway, the notation exist and is well known.
>
Can you cite a publisher and/or composer? The more scores of temporary
music I look at, the more I get the impression, that certain publishers
try to set notational standards solely by their relevance in the market
rather than by carefully designing their notational extensions. I
think, one should carefully check if pretendedly "well known" notational
standards make sense before implementing them in lily.
Greetings,
Juergen