- #Ireal pro chords symbols too big how to
- #Ireal pro chords symbols too big archive
- #Ireal pro chords symbols too big software
Much less likely to get lost than if the bank of all-white notes The forest? The octave is beautifully divided up such that we're Interests of equality and "logic", how do you find your way around Thirdly, the pattern of black and white notes has an enormousĪdvantage, which is easy to miss unless you're presented with an Removing the naming system that links us to it would be unwise. Secondly, enough people will probablyĪlways want to learn TN (and certainly will for decades) that It's tempting to say, "unfortunately" (in fact I didĪnd edited it out!) - but it has pros and cons.įor one thing, there is still enough music that is diatonic for that Take the pragmatic view that that ideal is unlikely ever to Getting rid of those in favour of an isomorphic naming system, I Of the notes, and, although it is perfectly reasonable to advocate Stick to simple diatonic units like it did).and thus accidental (especially in the modern or postmodern era, where music doesn't
Lack with a rather suboptimal method of adding key signatures Or equal consideration to, all the semitones, and adjusts for this Peculiarities of the TN staff, which fails to give room for, I think most of the motivation comes from the anisomorphic I have long ago concluded that reforming notation without reforming the instrument layout itself is not worth the trouble. I would point out, however, that with readily available software, such as Lilypond or Finale, it is now possible to create a traditional "shape note" score or "tab" lead sheet, which gets us most of the way toward what you seem to be seeking.īut thinking about that leads me to suspect that most of the motivation for "improving" TN comes from the an-isomorphic peculiarities of the Pianoforte. I would suspect that a solfa based notation would be more useful to singers than guitarists, but as I don't play the guitar, I'm merely speculating on that. to use as a lead sheet for singing or accompanying. Whether anyone would choose to do so depends on the utility of the target notation, e.g.
#Ireal pro chords symbols too big how to
In principle, as a computer expert, I know how to write a program to convert such a representation into your notation, as well as many others. I had not given much thought to encoding the other notes of chords in the most efficient way, but for "stacked thirds" chords, a sequence of two or three binary digits (minor vs.
Using the same sequence for chord roots is straightforward.
I had proposed chromatic syllables based on this sequence, and some rotation among the "singing" vowels U/oo O/oh A/ah E/eh I/ee). So, for example, the even letters of the Latin alphabet (b d f h j l n p r t v x z) have this property in the standard ASCII/Unicode encodings. Understanding that all computer codes are ultimately convertible to binary numbers, by "digitally isomorphic" I mean that the binary number distance between semitones is constant and increasing uniformly as pitch or time (or whatever) increases.
#Ireal pro chords symbols too big software
The more popular open notation software formats, such as Lilypond, have a considerable repertoire available, as well as some MNP formats (ExpressStave, Clairnote).Ĭertainly a "standard" isomorphic "lead sheet" standard would be useful.įrom a computer implementation perspective, I would prefer to see something that is "digitally isomorphic" as well. For computer processing, we have no universal standard, but MIDI is close, and MusicXML is in contention.
#Ireal pro chords symbols too big archive
Of course, Traditional Notation is such an archive if the translator is human, and is already the most complete. Seems to me it would be most useful to build up the "archive" in some universal format from which any others could be derived by a simple process or app. RE: " I would like to build up an archive of popular melodies in this format."
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