contemporary notation
Hi, there.
I recently posted this post, I think in the wrong section:
https://musescore.org/en/node/272894
I would like to comment that it would be quite interesting if musescore were given a contemporary notation, as it already has many possibilities that facilitate this and can be further enhanced.
For example, it could be seen as facilitating writing for works such as Krzysztof Penderecki's "Threnody to the Victims of Hiroshima".
I am very grateful to everyone who is working on this great project.
Comments
For the record... ;-)
In reply to For the record... ;-) by Shoichi
Now that I see the picture Shoichi attached I realize that something like this should be possible in version 3.0. It will enable the user to change from any staff to any other staff. I haven't tested it, but I would expect it to be able to make such staves as in the picture.
In reply to For the record... ;-) by Shoichi
Could you please tell me where can I learn to use this kind of notation?
Thanks in advance,
Luca
In reply to Potresti cortesemente… by Bardelleluca02
Can you say which specific aspect you are curius about? It's mostly just a matter of learning to use all the standartd features MuseScore provides - lines, staff properties, symbols, etc - in creative ways.
In reply to Potresti cortesemente… by Bardelleluca02
@Bardelleluca02, had you seen this https://musescore.org/en/node/298280 ?
As Marc says is the use of the available features and of the experience.
If we think in evolutionary terms we must also consider the notation in the field of microtonality and the management of all the sound parameters (I mean additive or subtractive synthesis) instead of limiting ourselves to scores where simply the sign is prevalent.
In other words, if I listen to the score, what sounds should I expect?
In reply to If we think in evolutionary… by chiapellobis
That’s what I mean. I’m okay with notating microtonal system, but I struggle with using non-traditional notations, such as the one where you don’t use a clef, but you use lines as strings and the image of the instrument instead of the clef.
PS Sorry for my English
In reply to That’s what I mean. I’m okay… by Bardelleluca02
Oh, and also writing for electronics. If I find a good example to show I’ll post it
In reply to Oh, and also writing for… by Bardelleluca02
https://youtu.be/7ih-uROvR1o
It hasn’t electronics, but I need something like this
In reply to That’s what I mean. I’m okay… by Bardelleluca02
Forse se ci scriviamo in italiano e riportiamo la traduzione inglese comunichiamo meglio
Maybe if we write in Italian and report the English translation we will communicate better
In reply to That’s what I mean. I’m okay… by Bardelleluca02
(italian) La mia preoccupazione e che ci sia un deriva solo notazionale per questo magnifico prodotto.
Anche se il playback ha dei limiti ammessi dagli implementatori è "fondamentale che si possa ottenere un rendering" ed avere un'idea di cosa si sta componendo.
Detto questo dal punto di vista dell'innovazione musicale, che è in corso, possiamo dividere il tutto in 3 aspetti:
- strumenti reali e espressione: da appassionato di chitarra classica so che la tecnica sta ancora evolvendo e con essa la notazione. C'è poca documentazione in giro ma basta prendere lo spartito di Yamashita dell'adattamento di Pictures in exhibition
- un altra evoluzione introdotta dagli "strumenti virtuali" è al momento più concettuale che pratica ma importante: il timbro è un parametro che può essere modificato durante l'esecuzione; credo qui non ci sia documentazione ma dal puntodi vista notazionele bisognerà pur far qualcosa oltrecgé abbandonare l'sf2
- inoltre la microtonalità: al momento sono pochi i tools per lavorare velocemente.
(english) My concern is that there is a "drift" only notational for this magnificent product.
Even if the playback has some limits admitted by the implementers it is "fundamental that we can get a rendering" and have an idea of what is being composed.
Having said that from the point of view of musical innovation, which is underway, we can divide everything into 3 aspects:
- real instruments and expression: as a classical guitar enthusiast I know that the technique is still evolving and with it the notation. There is little documentation around but just take Yamashita's score of the adaptation of Pictures in exhibition
- another evolution introduced by the "virtual instruments" is at the moment more conceptual than practical but important: the timbre is a parameter that can be modified during execution; I believe there is no documentation here but from a notation point of view, something will have to be done besides abandoning the SF2
- also microtonality: at the moment there are few tools to work quickly