Bilinear Music Notation
is regarded as the only truly viable alternative notation system for
music. First published in 1997 (by José A. Sotorrio), it is the only reform
proposal to solve all... More > the problems of traditional notation whilst retaining the
same essential functionality required for practical music-making. No
accidentals, key signatures, or clefs are required; all notes have just one
absolute position on the staff in all octaves; less vertical space
is required resulting in fewer ledger lines; it accommodates ranges more efficiently and simplifies the notation of transposing
instruments; it reduces microtonal symbology;
rhythmic notation is traditional or ‘chronographical’ (proportionate).
Includes: 21 comparative
transcriptions ranging from Bach to Schoenberg (both handwritten and in
typescript) & an overview of notation proposals. ISBN 978-0-9548498-2-5< Less
Bilinear Music Notation
is regarded as the only truly viable alternative notation system for
music. First published in 1997 (by José A. Sotorrio), it is the only reform
proposal to solve all... More > the problems of traditional notation whilst retaining the
same essential functionality required for practical music-making. No
accidentals, key signatures, or clefs are required; all notes have just one
absolute position on the staff in all octaves; less vertical space
is required resulting in fewer ledger lines; it accommodates ranges more efficiently and simplifies the notation of transposing
instruments; it reduces microtonal symbology;
rhythmic notation is traditional or ‘chronographical’ (proportionate).
Includes: 21 comparative
transcriptions ranging from Bach to Schoenberg (both handwritten and in
typescript) & an overview of notation proposals. ISBN 978-0-9548498-2-5< Less
by W. A. MOZART. As Edward Holmes pointed out in 1854: "To some it may appear improbable that so great an artist should undertake such dry labour..." It is true that great artists only very... More > rarely reveal any inclination to reflect on the principles of their art, still less to systemize them for the purposes of teaching. Yet Abbe Stradler, Mozart's friend who later settled his estate, claimed that these lessons were written by Mozart for his niece, a pupil of piano and harmony. At that time, there were few books on harmony and each master taught according to tradition. Indeed, Mozart generally followed the same basic principles as those he had once been instructed by his father: thorough-bass studies and species counterpoint. In other words, the pupil either had to provide a harmony for a given bass, or devise the missing parts to a given melody. It is the first of these disciplines that concerns this most concise yet comprehensive treatise, “…without the expenditure of a single superfluous word”.< Less
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