Comments for TwinNote Music Notation http://clairnote.org/twinnote A better music notation system Fri, 01 Nov 2013 01:52:48 +0000 hourly 1 https://wordpress.org/?v=4.6.1 Comment on New TwinNote Note Head Font by (Another) New Revised Note Head Style | Blog | TwinNote Music Notation https://twinnote.clairnote.org/blog/2012/11/new-twinnote-note-head-font/#comment-195 Fri, 01 Nov 2013 01:52:48 +0000 http://twinnote.org/?p=1126#comment-195 […] it’s something in the fall weather that makes a body want to refine note head shapes… About this time last year I created a new, more rounded TwinNote note head style, and recently I’ve come up with a […]

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Comment on Whole Notes, Accidental Signs, Key Signatures (LilyPond Improvements) by Paul Morris https://twinnote.clairnote.org/blog/2013/06/whole-notes-accidental-signs-key-signatures-lilypond-improvements/#comment-183 Thu, 27 Jun 2013 03:20:35 +0000 http://twinnote.org/?p=1698#comment-183 Thanks Doug! Good point about microtonal music, and I agree about the need to make whole notes more prominent. Wider whole notes might also be needed if you had say a triad where the middle note was a whole note and the other two notes were quarter notes. The different note heads would allow you to distinguish the different durations. I suppose that would be fairly rare, and you could just work around it with tied notes. In any case I think they it is more aesthetically pleasing to give them more weight in this way.

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Comment on Whole Notes, Accidental Signs, Key Signatures (LilyPond Improvements) by Doug K https://twinnote.clairnote.org/blog/2013/06/whole-notes-accidental-signs-key-signatures-lilypond-improvements/#comment-180 Mon, 24 Jun 2013 18:31:57 +0000 http://twinnote.org/?p=1698#comment-180 Nice work. The bigger whole notes make sense. I’ve always assumed traditional notation uses bigger whole notes so that they aren’t overlooked as easily, because their lack of stems might make them less noticeable than other notes otherwise.

The accidental spacing is a good tweak. Those rare cases you mention are rare indeed! They might happen more often in microtonal music (which is itself rare), in which the “enharmonic equivalents” are actually different pitches.

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Comment on New TwinNote Note Head Font by SVG Images, Rests, LilyPond 2.17 | Blog | TwinNote Music Notation https://twinnote.clairnote.org/blog/2012/11/new-twinnote-note-head-font/#comment-161 Tue, 04 Jun 2013 22:16:02 +0000 http://twinnote.org/?p=1126#comment-161 […] of the images on the site so that they have TwinNote’s newer “rounded-triangle” note heads.  This lead me to improve the positioning of rests (when using LilyPond to create sheet music in […]

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Comment on New Version of the TwinNote Note and Interval Identification Game by Tonality for the Win | Blog | TwinNote Music Notation https://twinnote.clairnote.org/blog/2013/03/new-version-of-the-twinnote-note-and-interval-identification-game/#comment-151 Mon, 08 Apr 2013 05:20:00 +0000 http://twinnote.org/?p=1495#comment-151 […] notes of the chromatic scale.  Needless to say, the result would sound quite atonal.  Before these changes, you would actually hear a tone row as in Schoenberg’s twelve-tone technique, where each note […]

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Comment on New TwinNote Note Head Font by LilyPond, Key Signatures, Accidental Signs, Etc. | Blog | TwinNote Music Notation https://twinnote.clairnote.org/blog/2012/11/new-twinnote-note-head-font/#comment-149 Tue, 05 Feb 2013 04:42:19 +0000 http://twinnote.org/?p=1126#comment-149 […] Note Head Font The new note head font is starting to make its way through the site.  This includes the new pages mentioned above, the […]

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Comment on LilyPond Templates for TwinNote by New TwinNote Note Head "Font" | Blog | TwinNote Music Notation https://twinnote.clairnote.org/blog/2012/11/lilypond-templates-for-twinnote/#comment-123 Fri, 09 Nov 2012 16:44:42 +0000 http://twinnote.org/?p=1105#comment-123 […] working on LilyPond Templates for TwinNote I revised the note head shapes to make them more aesthetically pleasing and easier to read.  Here […]

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Comment on LilyPond Software with TwinNote by Paul Morris https://twinnote.clairnote.org/blog/2011/07/lilypond-software-with-twinnote/#comment-122 Thu, 23 Aug 2012 21:44:47 +0000 http://twinnote.org/blog/?p=201#comment-122 Thanks for the comment. So you are proposing keeping the positions and directions of the triangles the same, but having the notes in the current key be hollow/white and those outside the current key be solid/black. Which notes are black and white would change from key to key. That might be an interesting approach, if more complex.

The main drawback I see is that it would make notes and intervals harder to learn and recognize because their appearance would be less consistent. I would rather have greater consistency. You just have to shift how you think about the diatonic scale, no longer as something that needs to be ‘built-in’ to the staff (as in traditional notation) or the notes (as you’re proposing) but as a particular pattern of intervals that you learn to easily recognize (see Scales). Making the interval relationships as clear as possible is the top priority, and then the diatonic scales and the rest will follow.

Another way to put it is that whether a note is black or white is a very obvious, vivid aspect of a note, probably the most readily apparent thing about a note. Wouldn’t it be better to use this to help distinguish pitches and interval patterns than to “waste” it on just indicating accidental notes? It is already easy to tell if a note is an accidental because it would have one of TwinNote’s alternative accidental signs.

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Comment on LilyPond Software with TwinNote by Jo Blow https://twinnote.clairnote.org/blog/2011/07/lilypond-software-with-twinnote/#comment-121 Thu, 23 Aug 2012 03:17:32 +0000 http://twinnote.org/blog/?p=201#comment-121 I think you should change the notion a little to make it more logical. The half steps between E and F and B and C cause the diatonic notes to C above E to be “flipped” making one think that they are chromatic. e.g., below E the black triangles are diatonic and above E the are chromatic.

Instead, On F use a UPWARD triangular white note. So E has a downward white note and F has an upward white note on the same line. This means a simple C major scale is all white notes with those below F point down and those above E pointing up.

What this means is that diatonic melodies will all be white notes in a very compact way and it also becomes easier to distinguish C D E from F G A B. Chromatic alterations are extremely obvious(black notes).

One could use a transposing system so that the order is always the same on different tonics. e.g., for whatever key we are in the half-steps do this flip-flop. This will produce diatonic melodies, regardless of key, to have all white notes.

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Comment on Beethoven’s Für Elise in TwinNote, Typeset with LilyPond by TJ Martley https://twinnote.clairnote.org/blog/2012/04/beethovens-fur-elise-in-twinnote-typeset-with-lilypond/#comment-110 Fri, 29 Jun 2012 18:35:14 +0000 http://twinnote.org/?p=802#comment-110 Isn’t it great that we can find such quality free versions of great sheet music online nowadays? I sometimes have to check my students scores, but most of them are very good.

Here’s my renditions of Fur Elise: http://www.youtube.com/watch?v=x-O0qb66AoQ

Thanks!
Tj
tjjazzpiano.blogspot.com

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