To me, the visual cue of the name of the note is idiotic.
VERY idiotic.
He choose to use the C, D, E... system that is not the norm (the norm, maybe not in US I guess, is Do, Re, Mi...)
And then create graphical representation of words starting with those letters.
Except this works only in english.
How a portuguese speaker for example would associate the dot thing with D or Re? It looks like neither, at most it looks like a dot (that in portuguese is "ponto", thus starts with a P)
Or the above and below? Below in portuguese is "abaixo", thus starting with a A, so you have to teach someone that A actually means B.
To me this new notation might make sense in english (maybe), but in other languages is even more arbitrary and silly (and tedious to hand-write)
>He choose to use the C, D, E... system that is not the norm (the norm, maybe not in US I guess, is Do, Re, Mi...)
A musician is usually able to use both. The A/B/C/D/E/F/G is used even in European notation, for chords and stuff.
>How a portuguese speaker for example would associate the dot thing with D or Re? It looks like neither, at most it looks like a dot (that in portuguese is "ponto", thus starts with a P)
He would either have to learn 7 words in English, that almost everybody in the planet under 30 already knows, or just learn the visual shapes, which are distinct and take about 10 minutes to memorize. It's not as if "Do, Re, Mi" means anything in Portuguese either.
The average US musician knows the C/D/E, and possibly moveable Do/Re/Mi (where Do is the tonic of whatever major key you're singing in).
The fixed Do system isn't even much covered in basic college-level music theory in the US (to my recollection); I doubt most performers will know much about it.
About asking the Portuguese musician to learn 7 English words, and switch from fixed Do to the C/D/E system... well, the problem is not that it's hugely difficult, but that it will seem like a foolish choice to music teachers. Who would teach this new system?
The benefits of the new system have to be huge and obvious if it's going to gain any ground, because the existing system is everywhere.
Tell a teacher that "here's a new system! Only a miniscule fraction of extant sheet music is available for you and your students, you'll have to re-write all of your teaching materials, and you'll have to force your students to learn the American C/D/E system with English-language-only mneumonics!"
It's different in that the visual shapes stay constant in all "clefs" as well as up and down the pentagram.
So a D below middle C looks exactly the same like the D above middle C -- something which is not true for the regular notation, where you have to count the pentagram lines the note is in, or how many lines below or inside the pentagram.
So the new system retains the position-on-stuff and ADDS another visual cue for the same information (the shape of the note).
I did read TFA and... pentagram? Do you mean the staff/lines?
Adding more visual cues isn't necessarily a good thing. 'Counting lines' is what you get when you're a neophyte at reading music, and is chaff for the more experienced. And when you're playing a complex piece of music, you want to minimise visual clutter.
>I did read TFA and... pentagram? Do you mean the staff/lines?
Hah, yes, sorry. In my language it's called "pentagram" (which means "five lines" literally). For some reason I had the idea it was the same in english. Well, after all, other words like "harmony" and even "music" were borrowed in English as is ;-)
For those studying music theory in the English-speaking world, A-G is the norm. (German has H as well.) That being said, I've only ever met musicians from the commonwealth... I will not comment on other languages and whether or not they use solfège since I've no experience in that area.
This was my thought as well. If you're going to create a symbol association language, why not just use the original symbols? You're just adding an extra layer of learning otherwise.
If it's because the symbols (ABCDEFG) aren't universally recognized, then you shouldn't be basing your language off of them in the first place.
These symbols are fussier than necessary, because they are trying to be cute about both the mapping to the alphabetic scale and slavishly sticking with circles.
What is required is a sequence of length seven (for convenience) that allows sharp/flat prefixes and time length suffixes. Circles are merely one option.
If written by hand, there will be ambiguities between C, Dot, Empty, and Full. I think a graphic design artist had too much fun with this project...
So, that's just the mnemonic for remembering the names, which is only marginally interesting, and which I already called out for being anglo-centric in another comment. What I like is how easy it makes to spot, say, an octave, at a glance.
He choose to use the C, D, E... system that is not the norm (the norm, maybe not in US I guess, is Do, Re, Mi...)
And then create graphical representation of words starting with those letters.
Except this works only in english.
How a portuguese speaker for example would associate the dot thing with D or Re? It looks like neither, at most it looks like a dot (that in portuguese is "ponto", thus starts with a P)
Or the above and below? Below in portuguese is "abaixo", thus starting with a A, so you have to teach someone that A actually means B.
To me this new notation might make sense in english (maybe), but in other languages is even more arbitrary and silly (and tedious to hand-write)