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| ▲ | Hunpeter an hour ago | parent | next [-] | | This is a bit off topic, but since you mentioned your guide:
I hope this doesn't come off as hostile, but the guide you linked contains a number of inaccuracies and oversimplifications - it's kind of naive in an endearing way, but also leaves the reader with the impression that it covers all there is to music. I guess what I'm saying is it's fine to restrict yourself in what you include in the guide, or even simplify things, but it should be clear that the topic (i.e. music) is far richer and more complex. | | |
| ▲ | tracnar 33 minutes ago | parent [-] | | To give an example, this it of course not true: > Only a limited set of frequencies is used in music. All these frequencies (that exist in music) can be played by a piano. | | |
| ▲ | PaulDavisThe1st 29 minutes ago | parent [-] | | You're saying its not possible to tune a piano to an arbitrary set of 88 pitches? | | |
| ▲ | organsnyder 7 minutes ago | parent | next [-] | | Of course you can, but that's not what's implied by the quote. In addition to microtonality, many instruments (and the human voice) are capable of infinite tuning, and musicians will deviate from the "correct" note (as played by an even-tempered instrument) based on chord structure, voice leading, etc. | |
| ▲ | jpitz 3 minutes ago | parent | prev [-] | | there are absolutely pitches that an arbitrary piano cannot be tuned to.
it is also non-trivial to tune a piano. |
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| ▲ | bonzini an hour ago | parent | prev [-] | | https://youtu.be/Eq3bUFgEcb4 explains why music notation is the way it is. There are very good reasons for it. The parts that are really weird (like the C clef) have mostly been obsoleted, unless you play the viola I guess. | | |
| ▲ | song_synth an hour ago | parent | next [-] | | love that video, it made me lol so hard the first time I saw it :D Classical composer and software engineer here. One of my goals is to help update score notation. I use something called "harmonic coloring" which is like a reduced MIDI notation: You color a note by its functional role (harmonic value) rather than an arbitrary hue in 0-11. What this view shares with MIDI: Long rectangles representing the applied durations.
How it is different: Occupies a minimal amount vertical space. The color palette I'm using is intended to support people with colorblindness. The shades/hues of a color encodes the functional harmony. The root key signature (origin) is always the same color; and chords some distance r away on the circle of fifths is the shade/hue at that offset r. There is a similar concept described in the Tantacruel video towards the end. You can explore it here on Monic Theory.
(mobile view should be fixed within 48 hours) https://monictheory.com/project-templates | | |
| ▲ | PaulDavisThe1st 26 minutes ago | parent [-] | | Note that in historical Byzantine musical culture, there are no absolute pitches at all. Their notational form is entirely intervals from some arbitrary root note. Similarly, in Carnatic and Hindustani classical traditions, the note names (Sa, Re, Pa etc) do not denote pitches - Sa is always the root, whatever it is, and the rest have a somewhat well defined intervallic relationship to it. I personally would not use "harmonic value" to describe this, since it occurs in music that (broadly speaking) lacks harmony. The key point, IMO, is that what matters are sets of intervals (ratios, if you prefer) rather than actual pitches (as frequencies). | | |
| ▲ | aanet a minute ago | parent [-] | | ^^ THIS Hindustani (and Carnatic) music indeed do not denote pitches for a very sound (pun intended) reason: They let singers choose the root note (Sa), and thereupon the melody is built. Most (all?) of Hindustani music is melody-based, not harmonic based (like Western music). And the melodies are themselves created within the Raga framework. Raga is like a mode (but not exactly that), and is hard to explain within the constraints of Western music theory precisely because that concept does not exist in western music per se. Which is why most Indian classical theorists call a raga a "melodic framework", and leave it at that (or expound on it, as the case may be). A great reference for Indian classical music is [1] and and more recent one [2] [1] The Ragas of North Indian Music, N.A. Jairazbhoy, https://archive.org/details/dli.ministry.26725 [2] Rāgs Around the Clock, A Handbook for North Indian Classical Music, with Online Recordings in the Khayāl Style, https://www.openbookpublishers.com/books/10.11647/obp.0313#r... |
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| ▲ | jaggirs 33 minutes ago | parent | prev [-] | | I suppose it makes historical sense, and even ingeniously designed. But it, and the piano black keys with it, are definitely not optimal. It makes playing in C easy, and playing in anything else hard. I've picked up a new instrument since ~2 months, and 1 month in I could already play all scales by by deliberately staying away from music notation, learning the raw distances/steps that make up a scale and how to play them, rather than the 'delta from C', which is how classical training taught me to think. (Same story for chords etc) | | |
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