Malte Meyn <lilyp...@maltemeyn.de> 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 _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
