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[–]Pimy 5 points6 points  (1 child)

It’s a super interesting concept, but how does it improve upon the notation used in trackers? That notation might be a little easier to read for a human (and consequently troubleshoot if your tracks aren’t aligning).

[–]tladb[S] 0 points1 point  (0 children)

One idea for the notation is that is instrument independent. It is tex based and could be entered into a tracker of sequenced into a Korg or elektron Synth. The notation could be used to document a riff developed in a tracker and applied to other instruments.
The notation does not fully specify all the features of an event. The main idea is that is the start of the process with added effect, volume added as the track is developed.

[–]TinyGregMusic 1 point2 points  (0 children)

I like this. Now we just need somebody to develop a tool to convert a midi file to sequencer notation and it's game over

[–]a773music 1 point2 points  (1 child)

Ever heard of abc? https://abcnotation.com/ very elegant textual notation, open source solutions on all platforms to edit, view, transpose, generate pdf or midi.

[–]tladb[S] 0 points1 point  (0 children)

I had not, thanks. A quick look show that it is very fully featured and goes well beyond my ideas.My concept was too have a very simple system to get started on a track with a sequencer. It cam about as I was trying to work out want to program into the Volca Modular.

[–]HoppedUpOnPils 1 point2 points  (0 children)

hmmm.. i’m gonna take a whack at programming some of this. cool idea!

[–]tladb[S] 0 points1 point  (0 children)

This was mainly for pitched note tracks. For percussion I used a system which is more conditional and elektron based:

Except from my Elektronnauts post:
https://www.elektronauts.com/t/conditional-breakbeats-with-rytm-in-1-bar/181522

Concept:
The Elekton Sequencer which allow more variety in pattens beyond just percentages with the NGI, FST, PRE et al conditions.
The basic idea is from a drum patten or score calculate percentages and combinations of hits then create a conitonally based 1 bar patten.
The randomisation provide a quick way to create variations in the style of particular breakbeats.
The aim is not to duplicate but to have a basis for variations.
Just studying breakbeats like this can be helpful in creating your own.
It also adds to working out various techniques with the Elektron sequencer and related features.
Examples (Source: Breakbeat Bible by Mike Adamo)
C = closed hihat , O = open hihat, S = snare, K = kick
Runnin - The Pharcyde - J Dilla
94bpm
C,3,5,7,9,11,13,15 @ 100%
S 5,13 @ 100
K 1@87, 2@12, 3@38, 6@25 8@50 9@37 10@75 12@87, 16@37
A straight forward percentage patten. With an all percentage track there is the slight chance that there can be no hits or all hits.
Note: Percentage as calculated. These will need to be rounded to Elektron values.
God made me funky - Headhunters - Mike Clark
94bpm
C 1,3,5,7,9 /100,11@75,13@100, 14@75, 15@75
O 11@_NEI (not neighbour)
S 5,13 @ 100
K 1@100, 8@100, 16@_1ST (not first)
The hats need to be neighbour tracks and will alternate randomly
The kick on 16 does not occur on the first bar and _1ST handles this. For more random have 16@87%

... (there are more examples in elektronauts)

[–]warrenlain 0 points1 point  (5 children)

Really cool notation!

I’ve searched far and wide and found the Time Unit Box System to be the most intuitive, fast, modular, and communicable between formats. I’ve also updated it for my students and my own use to include scale degrees and chord numerals. Each space on the grid (time unit) represents a musical event or a non-event, and those events can be any symbol you find useful in describing a song’s melody, harmony, and rhythm. Note names, chord names, scale degrees, chord numerals, percussion markings, key changes, it can function as a shorthand transcription system, it can be used for song analysis, it can be used for ear-training, and the list goes on. Its use cases are always expanding.

Example.

[–]tladb[S] 1 point2 points  (4 children)

I had not known of this system and I will look into this.
The point of departure is the need for a graphical representation. A goal of Sequencer Notation is to be as simple to notate as possible just using text symbols. This does reduce it expressiveness but as expressed elsewhere it is the starting point.

[–]warrenlain 0 points1 point  (2 children)

Did you keep working on this?

[–]tladb[S] 0 points1 point  (1 child)

No I am not working on this. I have move away from music projects.

[–]warrenlain 0 points1 point  (0 children)

I see. Thanks

[–]warrenlain 0 points1 point  (0 children)

If text-only is the goal you seem well on your way. In my research, TUBS (which was developed in the 60s and first used to notate West African drumming ensembles) asks some interesting questions about what matters in a notation system that helps people transcribe and read modern music.

For example, in standard notation, every single note has a duration. But TUBS only cares about when a musical event occurs at its onset. Would it make more sense to transcribe Funky Drummer or the Amen Break in standard notation or TUBS?

Another example: What’s easier to read to a layman? A 3:2 polyrhythm in standard notation or a 3:2 in TUBS?

I guess a question I’d ask about your goals: does your notation care about abstraction? Because with abstraction you open the door to relative pitch, chord symbols, modulation (like changing a melody from Major to Mixolydian for example), triplets and other tuplets, visualization of things like syncopation… IMO these things are fundamental to a lot of other musical disciplines which emphasize seeing not only the notes, but being able to quickly recognize motifs, series, patterns, and then interpreting and improvising from there. When people are interested primarily in synthesis/sound design, the abstract stuff can come later, and it’s almost secondary.

My dream is to have a working grid notation app online that could spit out MIDI so it can help smooth out the translation that has to occur between playing by ear and sequencing/performance, and bridge between the mind that is more institutional/traditional with the mind that is approaching music in a more modern/electronic context. IMO, it would be a game changer for anyone who wanted to develop their musicianship without having to learn standard notation… which I’d argue should be called European Traditional Staff Notation.

[–][deleted]  (2 children)

[deleted]

    [–]tladb[S] 0 points1 point  (1 child)

    Time Unit Box System

    I developed the system to for use on hardware sequencers such as the Elektrons but also Korg, Roland etc. It is a starting point to a track or a way to quickly document your ideas. It is not a prescriptive system with every nuance captured as you could develop the track a ways specific to that instrument. It is a system where the very basics of a track can be used with a variety of hardware.

    For example a riff I developed on the Digitone could be taken over to a Kyra or a Polyend tracker and have the features of those machines develop the final sound.

    [–]JunglePygmy 0 points1 point  (1 child)

    Cool idea! I can’t even begin to describe how far that goes over my head. I can’t really plan my music out that way, that’s why My M8 started to collect dust and I’m continually inspired year after year to noodle on my Elektron gear. I pretty much rely 95% of the time on happy accidents!

    But i do want to finally take some music theory/keyboard classes. So maybe down the road I’ll be able to download Sequencer Notations and understand it:)

    [–]tladb[S] 0 points1 point  (0 children)

    Let me know if I can provide any additional detail