Debate on notation systems from one of our readers!

Q: Just a note. For question #10 your answer is misleading. There are MANY people who have come up with alternate notation systems that offer a lot of benefits over standard notation. These systems do not use accidentals or key signatures. They preserve visual intervals and chord shapes in every key. And align octaves in similar positions on the staff. All things that standard notation can not do. Take a look at www.mnma.org.

A: Thanks for the feedback. I'm aware of the chromatic notation systems - inventors have been trying to replace standard notation for many years - and the subject is one that can provide hours of entertaining argument. I should have made it more clear that there have been hundreds of such attempts, most of them aiming to eliminate the distinction between enharmonics like D# and Eb, to eliminate accidentals and key signatures, and to make the same note names appear identical in all octaves. For the benefit of the audience, here is the way two prominant chromatic systems would represent a c minor triad, then a non-triadic C-D#-E, and finally a C major triad:

A chromatic system that cycles on the octave (every pitch looks the same in every octave) is in theory very attractive from the easy-to-play angle. Certainly some of the many, many variations on this idea are rational, some are elegant, and the simplest of these have none of the quirks of the standard system.

But for me the charm of the standard system lies in those very quirks, because they reflect the system's organic basis in tonality. The standard system is an image of the history of tonal music, and expresses the nature of tonality in its irregular step patterns, its insistence on enharmonic distinctions, etc. And that does have one practical benefit, which is that the harmonic meaning of a passage is evident in its notation. If I am reading a passage in which Sol is followed by a sharped Sol, that has a different meaning for me than Sol moving to a flat La, one that may even influence pitch on a continuously variable-pitch instrument like the violin. I feel the sense of a probable secondary dominant on the sharp Sol, something like a minor subdominant on a flat La. A chromatic system, though beautifully rational for atonal music played in equal temperament, doesn't convey these tonal hints because a sharp Sol and a flat La are notated exactly the same way. Similarly, the standard system gives a special significance to the triad, which when written with the correct enharmonics always appears as three tones on adjacent lines or adjacent spaces, whether it is major or minor. The triad keeps the same visual form because that is a natural consequence of the staff system being based on a diatonic scale.

Another way of putting that comes from information theory: the standard system contains more information. Chromatic notation systems achieve their benefits by removing the information contained in the enharmonic distinctions of standard notation. That is OK only if one doesn't value that missing information, but I do value it. An Ab dominant seventh triad has a meaning distinct from that of a 'German' augmented 6th chord on Ab, but in chromatic notation the two are identical. None of that would matter if the world gave up tonality, but tonality is going to remain with us.

Shape notes, mentioned above, are an example of an organic extension to standard notation that adds information rather than subtracting it. But they enable the reader, at least in simple diatonic music, to ignore the pitch information contained in the standard system - which is still present - and to read only the meaning of the shapes. Shape notation has succeeded and endured, I think, because it leaves intact the information of standard notation; it's an add-on.

Reasonable people can disagree on the relative benefits of alternate systems, many of which are very clever, but in the end we must also deal with the practical problem of replacing a system known by perhaps hundreds of millions of people and enshrined in millions of printed scores and parts. It isn't going to go away; it will gradually evolve as it always has; future variations will be "backward compatible" with existing scores: those who know the latest evolution will still be able to read the older ones.

You could compare this dispute with that over artificial languages such as Esperanto. Esperanto is well-designed, rational, much easier to learn than any natural organic language full of quirks acquired over years of evolution. But it also lacks the cultural information carried by those missing quirks; it is not rich. Absent any world dictator with the power to force people to use Esperanto they continue to speak and read in the naturally evolved languages, and they always will.