28

This might be more like a comment, or it may answer the actual question behind what you literally wrote. You decide. You seem to assume a musical scenario with (1) a composition, (2) a performer, (3) an audience. Would it be possible to ditch that whole preconception and think about music in other ways? Why does there have to be notation? What is the thing ...


15

Training to be a singer includes what is called "ear training" which is the act of hearing the pitch in your "ear" (mind, really) before you phonate (sing) it. This ability keeps you in tune while you sing. You also learn how to read music and, eventually, you learn how to "sight-read" it. This means you can pick up sheet music ...


14

Your system makes it simpler and more convenient to write music in the whole-tone scale, which is very rarely used in actual music. But commonly used diatonic music is more difficult to write with your system, because so many accidentals are needed all the time even for the most trivial melodies and chords, regardless of the key. All keys have accidentals!? ...


13

Based on my experience reading and playing many Latin styles over the years, write it in 4/4. There really should be no special accommodation for 3-3-2 rhythms in this piece and in general, Latin music. This piece does not always use the 3-3-2 rhythmic grouping. Both hands play rhythms and patterns at times that are 100% 4/4. If you write it in 3-3-2, the ...


11

Provided writing out scores for the student is an option, I suggest creating a notation that matches an image on the "score" with the same image placed on the keyboard. For example, you could purchase "inventory circle labels" in a variety of colors. The score would be a sequence of variously colored labels which would correspond to keys ...


9

I would stray away from your first notation, as you've sensed. Trained musicians won't find it too confusing, but it's uncommon enough that it may occasionally trip someone up. (I admit that your last measure in the right hand, with the dotted-quarter rest, looks really strange to me even though I know exactly what it's saying. It's just not something we're ...


9

As piiperi says, "commonly used diatonic music is more difficult to write with your system". Further to their point (viz a fair few accidentals needed, whichever key you write in), I see another problem: lack of consistency. Among intervals that are narrower than an octave, the most important is the perfect fifth. In your system, the perfect fifth ...


8

Your notation is correct. When notating syncopation, the goal is to visually preserve the strong (part of the) beat. In 4/4 time, that means making clear where beats 1 and 3 lie, which your notation does and the "original" version does not. A couple of references articulating this idea: here and here.


7

If you also look at the 5th bar... ...the 5+ figure is used again. If the bass were unfigured, both of the chords could be 6 or 6/5 chords, some kind of dominant harmony. I think the editor may be using 5+ to mean a tritone. From my understanding of figured bass that is incorrect. It's confusing. As I understand figured bass, a plain numeric figure has the ...


7

Traditional western musical notation has the advantage of having been subject to lots of practical tests. It can range from the simple lead sheet with the melody written out and the accompaniment indicated symbolically. From experience assisting in teaching a music kindergarten for a few years, I'd say that a single staff (probably treble clef) is pretty ...


7

It is standard practice to write 4/4 measures as if there was an invisible barline in the middle, forcing syncopation to be broken down to two 2/4 half-measures. (Excluding whole notes.) So your modified version is "better". It makes syncopation more explicitly visible if you're used to having things spoon-fed like that. ;) I'm sure you could get ...


6

With enough training and practice you can absolutely "hear" the music in your head as you read the sheet music. And you can judge what it should sound like but that doesn't mean you can judge it as a performance. Humans will inject some of their own "feeling" into it and that adds to the uniqueness of each rendition of the tune. I've ...


6

Every system of notation/note naming is going to relate to a particular perspective from which music can be looked at. The standard 7-note system relates to the idea that we are going to see the music as using (or sticking close to) the diatonic scale. The sharps and flats indicate notes that are alterations - either due to the basic diatonic scale used ...


6

Your version is correct. In the example below A is fine (to the extent that B would be considered incorrect). C is acceptable, and even preferred to D in some circumstances. The mainstream musical world is not yet ready for E.


5

I think the teacher chose this because its what has been used for centuries, that is what is found in music books sold in the music stores, and not because it is easy or intuitive. A writing system must be consistent and effective, that doesn't mean that it has to be intuitive (in fact, it usually can not): is the written latin alphabet an intuitive writing ...


5

He basically cannot understand spoken or written language at all, so he has to learn by observation. I feel there is a non-negligible likelihood that you are underestimating your student's capability in learning sheet notation. It is certainly true that we cannot start with sheet notation for him, but I do suspect that he still can eventually learn sheet ...


5

I think you have a kind of disconnect here. If the kid can't learn to read printed words, then it's unlikely that printed notes (of any kind) will be of any use. There's really no difference between reading letters to form words and reading notes to make music. Both involve translating arbitrary, abstract glyphs into concrete actions. Drop the idea of ...


5

It looks like minim ghost notes: the fact it is hollow shows that they should last two beats each, in agreement with the time signature though… The way it would be played would unfortunately depends on the instrument, so hard to know for sure what was the intention of the author… Maybe someone else will have more idea!


5

That site Musipedia uses notation code based on LilyPond. The documentation pages for note head style are... http://lilypond.org/doc/v2.19/Documentation/notation/note-head-styles http://lilypond.org/doc/v2.19/Documentation/notation/note-heads#shape-note-heads They explain the cross note head... The cross style is used to represent a variety of musical ...


4

The edition in question is a faithful rendition of the original notation, but with the note shapes modified to their modern equivalents. "Onse Vader in Hemelryck", as printed in the first edition of Jacob van Eyck's Der Fluyten Lusthof (IMSLP) The original notation was typeset during the transition period between mensural notation and modern ...


4

The pitch of the melody tones was notated by letters, the rhythm was corresponding to the lyric modes: jambus, trochaeus, anapaest etc. https://www.musicportal.gr/ancient_greek_music_system/?lang=en Edit: The letters assigning the notes are referring to the Greek modes and descending tetrachords, described by all the antique music theorists.


4

Since this is the part for only a single instrument, I would actually recommend a third notation, one that highlights the duplet nature of the second half of this measure: This notation is equivalent to both of your notations, but in my opinion there's less room for possible confusion. But if this were, say, the left hand of a piano part (and thus you would ...


4

I had to hunt down the definition, but I found some sources. Secco means dry in Italian. In music the "dry" meaning of secco is without ornamentation. Non-arpeggio in plain English. Indicated by a bracket before chords similar to the wavy line for arpeggios, but with the opposite meaning. I found definitions with general, recitative, and harp ...


4

Instead of focusing on the second bar, take a look at the first one. While the first note is a D, as the chord is, the second is clearly not an A, but it's a C#. When you have [capitalized] letters on top of your staff, they most probably indicate the tonic (or the root) of the chord that is going to be played, not the specific note, otherwise the note to be ...


3

As long as you have this font installed, you should just be able to insert a \paper block clarifying your fonts at the start of your file (after your version statement): \paper { fonts = # (make-pango-font-tree "Hiragino Mincho ProN" % use this for the main (Roman) font "etc" % your sans font "etc" % your monospace ...


3

The implication in Stravinsky's score is that the notes stemmed together should be played by the same hand. Thus, the right hand could play [DCF][ECE][FCEb]. This is a general convention. Notes are stemmed together when they are intended to be played by one hand. Writing cross-staff like this is typically done to avoid leger lines or to make clear the ...


3

The score provided bears some similarity to the recording below, so I've based this roadmap on that. Play from measures 1 - 19 (first "coda 1" sign) Jump to measure 21 (matching "code 1" sign) and play only that measure Return to measure 20 (i.e., first "coda 1" sign) and play that measure Repeat as notated, back to measure 14. ...


3

Neither of the first gives a 3+3+2 rhythm in the bass. I've looked a lot of Latin music from Cuban, Brazilian, Argentinian, etc. and all of them use the following: dotted quarter, eighth-tied-to-quarter, quarter. I tend to think of this rhythm as two dotted-quarters followed by a quarter, but I haven't seen it notated that way. The point as mentioned in ...


3

The arguments of the other answers respecting the beats are all correct. But there are exceptions like the example A and C of Laurence Payne which show a clear symmetric structure and also the group 3-3-2 notated by two dotted fourth are common. The goal is the readability of the notation and if we have a repeated rhythmic pattern 3-3-2 this notation is ok. ...


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