Re: simplifying chromatic scale notation

[David Kastrup]

Malte Meyn <address@hidden> writes:

> Am 25.01.2016 um 22:19 schrieb musicus:
>> 
>> See attached. Comments, suggestions are very welcome ;)
>> 
>
> I see some problems for pianists:
>
> 1. I like to know where exactly I am at a given time. For example I’d
> like to know “c sharp on second beat” or “thumb on e sharp”. This is
> very useful in complex pieces like Sergey Taneyev’s prelude and fugue in
> g sharp minor op. 29.
>
> 2. Such an even notation doesn’t match well with the uneven keyboard. In
> our traditional system there are seven note positions per octave and
> seven white keys per octave, not twelve equal keys ;) This unevenness is
> necessary for fingerings.
>
> (2a. This is also why I don’t really like Clairnote, Twinline, and
> similar systems; though they might be good for symmetrical keyboards
> like the Jankó keyboard or the keyboard of a chromatic button
> accordion.

CBA player here.  The problem I see is more one that such "even
notation" doesn't match well with our standard tonalities.  Play a C
major scale.  Now do an accompaniment in "Küchenmädchenterzen", namely
just play the same melody a third up or a sixth below.

Now write down what you just did in any chromatic notation and try
understanding its irregular patterns of major and minor intervals.

-- 
David Kastrup