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> Thum-line Music Notation, Anyone come across this?
janexxx
post Sep 14 2010, 02:08 PM
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ThumLine notation system

Just came across this as I was surfing today (I was actually looking for kitchen knives...don't know how this one popped up!).

Can't see it catching on, but an interesting read nevertherless
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Ribble
post Sep 14 2010, 02:25 PM
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Scary. Half agree with it but it's presuming (quite wrongly for percussion instruments and pianos) that the notes are the same physical distance apart. The good thing about Western Notation is that the physical distance between C-D is the same as E-F and they both move up by one step.

One a guitar, sax or something similar, I could semi-understand it but having looked at all sorts of medieval notation at uni, I'd have to say that there's a reason that we've come to what we've got today and why it has not changed in any fundamental way for the past 400 years. IMHO!
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sbhoa
post Sep 14 2010, 02:38 PM
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QUOTE
To transpose a piece written in on a chromatic staff up a minor third (three semi-tones), the whole pattern of notes is simply shifted up by three vertical locations. The pattern's shape stays the same, no matter how many semi-tones it may be shifted under transposition.

Which is exactly the same in standard notation. (IMG:style_emoticons/default/dry.gif)
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Banjogirl
post Sep 14 2010, 06:06 PM
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Six lines is too many to take in automatically.
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bobifier
post Sep 15 2010, 01:24 AM
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What's wrong with the current system?
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tetrachord
post Sep 15 2010, 09:33 AM
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I just got more and more baffled as I moved down the page.
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Solari
post Sep 15 2010, 09:39 AM
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QUOTE(tetrachord @ Sep 15 2010, 10:33 AM) *

I just got more and more baffled as I moved down the page.


Same here, I think quantum physics is much simpler. (IMG:style_emoticons/default/laugh.gif)
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Arundodonuts
post Sep 15 2010, 09:40 AM
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QUOTE(tetrachord @ Sep 15 2010, 10:33 AM) *

I just got more and more baffled as I moved down the page.

I gave up just after the bit sbhoa mentioned.
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kenm
post Sep 15 2010, 01:22 PM
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This notation is too restrictive. I wouldn't mind if it contradicted all the malign influences of the piano, but it doesn't go far enough. Of course the distance between C and D is different from that between E and F in the ears and physically on many instruments, but what this notation does not represent is the possibility of making F# differ from Gb etc., which is present on nearly all orchestral instruments (also on clavichord). IMO, the flexibility of present day staff notation, with its 35 pitch classes, is a good compromise between the huge flexibility of the acoustic spectrum and the practical limits imposed by the human brain.
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