KISS notation: Difference between revisions
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Numbers for note nominals were originally suggested in the "initial post" below, but in the follow-ups, I suggested going with letters instead to avoid confusion between absolute pitches and relative ones. | Numbers for note nominals were originally suggested in the "initial post" below, but in the follow-ups, I suggested going with letters instead to avoid confusion between absolute pitches and relative ones. | ||
'''TO DO LATER''': condense this, add pictures! | |||
= Initial Post = | = Initial Post = | ||
(Initially from https://groups.yahoo.com/neo/groups/TUNING/conversations/messages/105842) | (Initially from https://groups.yahoo.com/neo/groups/TUNING/conversations/messages/105842, with some editing for formatting) | ||
I've been working on a very simple, standardized notation scheme for any tuning system. It has standard nominals, a standard way to assign accidentals, generalizes the two-staff bass/treble clef notation, has a standard way to standardize the range of each staff, and has a standard way to set the absolute pitch of the staves (and hence the whole tuning system). | I've been working on a very simple, standardized notation scheme for any tuning system. It has standard nominals, a standard way to assign accidentals, generalizes the two-staff bass/treble clef notation, has a standard way to standardize the range of each staff, and has a standard way to set the absolute pitch of the staves (and hence the whole tuning system). | ||
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My intention is for it to be a very broad and simple blueprint, used for one to get set up quickly in any arbitrary temperament and start communicating with other musicians. I previously wrote about this and called it the KISS notation system; this is hence KISS 2.0. The whole thing is very simple and works as follows, simplified to just use MOS's for now: | My intention is for it to be a very broad and simple blueprint, used for one to get set up quickly in any arbitrary temperament and start communicating with other musicians. I previously wrote about this and called it the KISS notation system; this is hence KISS 2.0. The whole thing is very simple and works as follows, simplified to just use MOS's for now: | ||
STAVES | '''<u>STAVES</u>''' | ||
1. Pick an MOS that you want to be "diatonic." | |||
2. Ensure that every staff covers at least an octave by giving each staff round(N/2+1) lines for an N-note scale. So a 7 note scale would have 5 lines, an 8 note scale would have 5 lines, a 9 note scale would have 6 lines, a 10 note scale would have 6 lines. A 6 note scale would only have 4 lines, and a 5 note scale would also only have 4 lines. | |||
6 | |||
NOMINALS | 3. Standardize one ledger line below the treble clef to represent the same pitch as one ledger line above the bass clef; I'll call this pitch the "Middle Note." | ||
7 | |||
8 | '''<u>KEY SIGNATURES</u>''' | ||
4. Pick a "privileged mode" of your scale. | |||
5. Set the key signature up so that your privileged mode, when the Middle Note is used as the tonic, is represented by the lines and spaces of the staff with no accidentals. | |||
'''<u>ABSOLUTE PITCH RANGE</u>''' | |||
6. Standardize the tessitura of the entire notation system to be what it is now by setting the absolute pitch of the Middle Note to be 261.6 Hz. | |||
'''<u>NOMINALS</u>''' | |||
7. Set the #/b accidentals to refer to the chroma L-s. | |||
8. Set the nominals for your scale up to be ascending numerals so that the middle note is nominal "1." | |||
And that's it. Some of it is so simple that it may not seem like it's worth writing about, but it's still probably good to write it explicitly somewhere. | And that's it. Some of it is so simple that it may not seem like it's worth writing about, but it's still probably good to write it explicitly somewhere. | ||