You have to play the right notes in the right order, but your timing can be as sloppy as you like. Again, Denemo gives you audible feedback so that you don’t enter E-flat when you meant D-sharp etc. Audible feedback lets you hear what you have entered playing the phrase a second time on a real instrument adds the pitches to the rhythm. Instead, Denemo allows you to use the numeric keypad as a kind of rhythm instrument – you play in a phrase or two of the music using the number keys to indicate the note durations. If you try it, you find you spend more time spotting errors and fixing them than is pleasant. In an ideal world we would just ‘play in’ the music, but this cannot be done reliably. This can be used for transcribing scores. Unique to Denemo are methods to enter music in a musical, rather than mechanical, manner. See comparison with Musescore, Finale or Sibelius. This represents an enormous practical improvement over the popular programs which require you to re-position colliding notation constantly as you enter the music. Some final tweaks can be done on the typeset score with the mouse if needed (watch demo). The typesetting is done in the background while you work, and is generally flawless publication quality. During input Denemo displays the staffs in a simple fashion, so you can enter and edit the music efficiently. Music can be typed in at the PC-Keyboard (watch demo), or played in via MIDI controller (watch demo), or input acoustically into a microphone plugged into your computer’s soundcard.ĭenemo uses LilyPond which generates beautiful sheet music to the highest publishing standards. We call it the Rosegarden Codicil : a mildly tongue-in-cheek adoption of the legal term for an addition or supplement that explains, modifies, or revokes a will or part of one (from the Latin codicillus, 'little book').Denemo is a free music notation program for GNU/Linux, Mac OSX and Windows that lets you rapidly enter notation which it typesets using the LilyPond music engraver. Through the extension of a powerful piece of existing open-source software, the Rosegarden sequencer, a rehearsal aid has been developed which is highly accessible to expert musicians and sufficiently flexible to handle many different microtonal scales. The composer's wish to explore the expressive possibilities of such alternative tuning systems presents new challenges to performers who, even at the highest level, may have limited experience with microtonality. So we have framed our definition as indicated above merely with our present practical purpose in mind. On the other hand, it would seem somewhat eccentric to call the various historical varieties of just and mean-tone tuning with twelve tones or fewer microtonal just because they are different from 12-ET. Scales with seven or eleven equally-spaced steps per octave, for example, could reasonably be considered microtonal. For example, the definition could be so broad as to include all tunings other than the one based on the ubiquitous Western tempered scale with twelve equally-spaced steps per octave (hereinafter abbreviated as 12-ET). We are using the term 'microtonal tuning' here to mean simply any tuning with more than twelve notes per octave, though we realise that the term is sometimes defined more broadly. The subject of this paper is microtonal tuning and a project which has developed several technologically-assisted methods of rehearsing music based on one particular microtonal scale. This project was unorthodox for the following reasons: playing two microtonal scales on one clarinet, appropriating a quasi-octave as interval of equivalency, and composing with non-octave scales. Although there are programs today that can interactively handle microtonal notation, e.g., MaxScore and the Bach library for Max/MSP, we show how a computer can assist composers in navigating poly-microtonal scales or, for advanced composer-theorists, to interpret equal-tempered scales as just intonation frequency ratios situated in a harmonic lattice. Some computer code assisted us during the creation period in managing up to five staves for one line of music: sounding pitch, MIDI keyboard notation for the composer in both BP and alpha, and a clarinet fingering notation for the performer in both BP and alpha. Neither has a 1200 cent octave, however they share an interval of 1170 cents which we attempted to use as a substitute for motivic transposition. In 2012 we collaborated on a solo work for Bohlen–Pierce (BP) clarinet in both the BP scale and Carlos alpha scale.
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