source file: mills3.txt Date: Sun, 7 Dec 1997 11:02:02 +0100 Subject: Re: Problems in Notation From: mr88cet@texas.net (Gary Morrison) >Why not use a darker line (instead of the space) -- or colored one(s). A darker line instead of a blank one sounds like an intriguing alternative. My immediate guess would be that the missing line would stand out more, and would have a lower possibility of changing half-notes on the line into quarter notes! But still that thought is well worth exploring. Colored lines would almost certainly stand out better than missing or dark ones. The drawbacks: I would think would be that it's a bit more difficult to copy colored lines than purely black-and-white images, and that far more people are color-blind than most of us realize (luckily I'm not). >It should be easier to train the brain >to follow the position of the ref line than to find a pitch on an extended >staff. ... Without a doubt you're right there. Making one staff line distinctive in some way (e.g., colored or missing) makes the clef you're in a lot easier to remember than having to look back to the beginning of the line. It's kind of like painting the clef throughout the entire staff line! Along similar lines to both of these, I have often wished for a computer sequencer that allows me to view and print instrument transpositions by staff-line color. For example, Bb instruments could be given ... brown say .. staff lines, Eb instruments, perhaps green, and so forth. And on top of that, having the note-head colors suggest entire octave displacements. So, for example, a guitar (since it transposes down an octave) would have, say blue notes (octave down transposition) on a black staff (no sub-octave transposition). Or a bass clarinet or tenor saxophone would have blue notes (octave down transposition) on brown staff lines (Bb transposition). That makes it a lot easier, as you're thumbing through an orchestra or band score, to quickly figure out what the concert pitches are among the sea of lines and notes. SMTPOriginator: tuning@eartha.mills.edu From: Johnny Reinhard Subject: Re: Bach's Tuning PostedDate: 07-12-97 17:12:42 SendTo: CN=coul1358/OU=AT/O=EZH ReplyTo: tuning@eartha.mills.edu $MessageStorage: 0 $UpdatedBy: CN=notesrv2/OU=Server/O=EZH,CN=coul1358/OU=AT/O=EZH,CN=Manuel op de Coul/OU=AT/O=EZH RouteServers: CN=notesrv2/OU=Server/O=EZH,CN=notesrv1/OU=Server/O=EZH RouteTimes: 07-12-97 17:10:55-07-12-97 17:10:56,07-12-97 17:10:45-07-12-97 17:10:46 DeliveredDate: 07-12-97 17:10:46 Categories: $Revisions: Received: from ns.ezh.nl ([137.174.112.59]) by notesrv2.ezh.nl (Lotus SMTP MTA SMTP v4.6 (462.2 9-3-1997)) with SMTP id C1256566.0058E06F; Sun, 7 Dec 1997 17:10:46 +0100 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA08622; Sun, 7 Dec 1997 17:12:42 +0100 Date: Sun, 7 Dec 1997 17:12:42 +0100 Received: from ella.mills.edu by ns (smtpxd); id XA08627 Received: (qmail 5521 invoked from network); 7 Dec 1997 08:12:32 -0800 Received: from localhost (HELO ella.mills.edu) (127.0.0.1) by localhost with SMTP; 7 Dec 1997 08:12:32 -0800 Message-Id: Errors-To: madole@mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu