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In your score, if you count the tied notes as a unit (which you should) adds up to 9 notes and there are 9 notes in the original part. Count the notes between the circles as one. The original score is trying to collect all these values into one. The way your score turned out is correct and much more simplified. I doubt you'll come across the first one ...


2

If you are talking about microtonality - of which I know little, there will have to be a lot more than just changes to E/F and B/C. It's possible to have notes between any adjacent semitones. There could be as many extra notes between G and G# as between E and F. It just happens that it's accepted (and has been for centuries) that the note called F is ...


2

Note: For the sake of discussion, I'm limiting myself here to equal temperaments, which is the most common way of tuning keyboards. Other systems exist, of course, but would probably only confuse the matter. Why do B and C and E and F not have a sharp note between them? Simply because, acoustically speaking, there is no room in our current system for ...


1

The simple answer is that the layout of the piano keyboard is the most useful and efficient possible for playing in equal temperament. There are MANY other tuning systems, of course, but the piano has been designed explicitly for playing the equal-tempered repertoire. You would have to do a little reading into the history of temperaments to learn why equal ...


1

There are some ambiguities in the way your question is stated. It is difficult to interpreted it in a non-arbitrary way; if you suggest adding one key for E# in addition to the present F key why not suggest for example the addition of two keys for B-flat and A-sharp respectively? And if you suggest reinterpreting E# as the quarter-tone between E and F, why ...


1

Doubles are covered here. Purpose of double-sharps and double-flats? Essentially they occur in sheet music as a way of "spelling" notes. For a piece of music that has a flat or sharp in the key signature already, if you want to raise or lower that now within the music you then need a double. If G that at some point included a minor third accidental (a ...


1

A time signature seems unnecessary for what you're describing, unless "moving a note" would invoke "moving all similar notes" where similar means the same note at the same spot in a measure: the concept of measure would require a time signature. If you don't need that concept then you don't need the associated time signature. For tempo... same thing: do you ...



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