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Re: "What Might Future Digital Notation Look Like?"
On Wed, Aug 6, 2008 at 12:51 PM, Raul Bonell <firstname.lastname@example.org> wrote:
> in the example of the named pitches i put above, you
> retain "ALL" the info. in a score, at least the modern harmony pieces and
> specially those not based on classic harmony it's going to be difficult
> not all things but some ...
Yes. And, as Marc Francombe said, timbre is not always possible to
write down on paper. Although the classical orchestra traditional
instrumentation set-up can provide people with "mental tools for
sound", but only as long as the music in focus deals with common
combinations of instruments and playing techniques. If this is to be
regarded as a creative opportunity or a limitation depends on your own
musical agenda. I realized that when reading The Contemporary
Arranger, by Don Sebasky, and setting up some of the big band sound
horn sections in a sequencer loaded with appropriate sounds. Here's a
link for that book:
Very much of my own musical taste has to do with hearing things I have
not encountered before. Imagination of such sound is rare, but it
still exists! I once dreamed about a sound that I really loved to play
with (in the dream) but I could not for long time understand what it
was or how I should create it in the real world.
Greetings from Sweden