New Notation for New Music, Part 2 Author(s): Kurt Stone Source ...

New Notation for New Music, Part 2

Author(s): Kurt Stone

Source: Music Educators Journal , Nov., 1976, Vol. 63, No. 3 (Nov., 1976), pp. 54-61

Published by: Sage Publications, Inc. on behalf of MENC: The National Association for Music Education

Stable URL: https://www.jstor.org/stable/3395098

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https://www.jstor.org/stable/3395098

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New Music, Part 2

The sample notation above is from "The Maze" by Larry Austin. SOURCE: Music of the Avant Garde, Vol. 1, p. 21, 1967 @ 1967. Used by permission.

Kurt Stone

The author, who has been a teacher, lecturer, and writer on music, as well as a long-time editor and publisher of music, is director of the Index of New Musical Notation. Copyright @ 1976 by Kurt Stone

54 mej/nov '76This content downloaded from

128.233.11.194 on Mon, 01 Feb 2021 19:20:43 UTC All use subject to https://about.jstor.org/terms

This second and final article on new music

notation will deal with some general as well as a number of specific innovations in the field of instrumental music. As in the first part, however, the recommended notational signs will be preceded by a glimpse into the maddening multitude of inventions devised for the solution of just one single problem, in this case, quarter-tone notation.

There are three solutions to the problem of notating quarter-tones: (1) a wider staff (more stafflines, possibly spaced apart unequally) to provide for quarter-tone subdivisions within the staff; (2) differently shaped noteheads; and (3) differently shaped accidentals.

The first of these solutions is actually the most logical because it literally subdivides the octave microtonally, instead of operating with basic pitches that are made to sound a little higher or lower. Even so, none of the wider- staff systems have ever gone beyond theo- retical proposals.

Neither have the differently shaped noteheads.

Nearly everyone uses the third method-- accidentals. But there is no agreement as to which of the many proposed new accidentals should be used to signify quarter-tones. There are two major approaches: adaptations of traditional accidentals, or completely new shapes. Adaptations are preferred by a majority of composers. Among the adaptations, sharps present fewer problems than flats, as the following examples will illustrate:

1/4-, 1/2-, and 3/4-tone sharps:

4.

5.

1/4-, ?2-, and 3/4-tone flats:

- ?1

?& bB f~ (

6 b 6C b

Sharps and flats are so obviously different in design that it is almost impossible to alter them by identical means. Moreover, the open flats (shown between the two triple columns) are easily mistaken for poorly written or repro- duced closed flats. Especially unfortunate is the flat that is open at the top, because if it occurs in a space of the staff, the staffline that bisects the flat also closes the loop's opening:

A further drawback of most, if not all, of the signs shown above is that they do not possess any characteristics that clearly tell the per- former whether the accidental raises or lowers the pitch by one or three quarters. The only exception to this criticism could be made for the sharps in groups 2 and 4. (In fact, Number 4 is used a great deal.) But none of the flats are satisfactory.

The sharps have additional drawbacks. Of the numbered sharp-groups, Numbers 1 and 5 do not retain the traditional sharp for half-tone alteration, and Number 3 is redundant in that both the horizontal and the vertical bars increase from one to three.

There is, however, one further system of adaptation, a system that is self-explanatory and that does work for sharps and flats alike (although the ?/4-tone flat, admittedly, is none too elegant)-the arrow system:

Conferees of the International Conference on New Music Notation in Ghent (see Part 1 of this article) preferred this arrowed set of accidentals for two reasons: (1) there has been increased acceptance of the arrow system among composers, even though there is not yet a clearly discernible preference for any of the systems of adaptation shown; (2) arrows are superior in clarity to any of the other alterations because they are self-explanatory. In other words, the conferees, in this case, based their choice on statistical as well as evaluative considerations.

One of the most distinctive innovations in

new notation is not, as one might presume, an increase in precision, but just the opposite- greater interpretive freedom, or, at least, flexi- bility. The most prominent manifestations of this new approach (and this is in nonaleatory music) are proportionate notation, the notation of clusters, and the notation of indeterminate repeats.

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Proportionate notation Proportionate notation (also called time notation) is a system in which

durations are "translated" into horizontal distances so that if the duration of a half note is made equal to one inch of horizontal space, a quarter note equals half an inch, and so forth.

I I I I I I I I

o 1 2 3 4

If a different spatial unit is chosen, for instance, 11/2 inches for a half note, the quarter will be half of that (i.e., 3/4 of an inch). In short, all durations must be notated in spatial proportion to each other. If the durations are taken care of by horizontal distances, then there is no further need for durational symbols, such as the distinction in traditional notation between black and white noteheads, or flags, beams, dots, triplet numerals, and so on. All that are needed in proportionate notation are noteheads to indicate pitches and a single beam to show how long the pitches are to sound (beam = sound; no beam = silence). Notated in this fashion, the last example would look as follows:

(Naturally, there are other graphic solutions, but the principle-the equa- tion of duration with space-remains the same.) If what has been shown so far were the whole story, it would mean no more than the exchange of one notational system for another. But this is not the case. The importance of proportionate notation lies in areas not covered by traditional notation in that it enables us to free ourselves from the sometimes frustrating necessity of having to fit all durations and rhythms into the rather crude (at least for our era's music) and rigid geometric progression of note values that has existed since the system of mensural notation was invented in the thirteenth century. For example, it was noted in the first installment of this article that a truly gradual ritar- dando or accelerando with a controlled rate of speed change cannot be notated, let alone a simultaneous occurrence of rit. and accel. in two different parts. With proportionate notation, such a task presents no problem:

Flute I r

Flute II

Proportionate notation does, however, require that all performers play from full scores (barring a few exceptions) because they must be able to see how their own durations fit spatially into the total rhythmic/durational texture. Another characteristic is that performances from propor-



tionate notation will always be somewhat inexact in detail because of the absence of a coordinating counting system (a meter signature). Counting regular beats is far more accurate than judging distances.

Proportionate notation has given us more freedom than traditional notation and certain other advantages that we did not have before, but at the price of rhythmic exactitude. Not everyone, however, wants rhythmic exactitude, as pointed out earlier. Furthermore, not all music is written in this system-only a certain percentage of it.

Greater interpretive freedom and deliberate ambiguity are no longer isolated phenomena indulged in by extremists, but have infiltrated symbolic notation, too, turning up within otherwise traditionally notated compositions to provide contrasts. Obviously, proportionate notation is here to stay.

Composers have dealt with actual signs for proportionate notation in various ways. The most popular method is to retain the psychological effect of white and black noteheads by using the white ones for relatively long notes, the black ones for shorter notes, and the cue-size notes for very fast passages. Of course, this method brings up the question of where exactly the borderline lies between "relatively long" and "shorter."

Cello

When this question arose during the Ghent Conference, the consensus was to leave it open. A good many conferees were inclined, however, to dismiss the black/white contrast as a nostalgic hangover, and to recom- mend instead to use only black noteheads, with cue-size notes as grace notes for very fast passages (the way they have always been used):

A quite different but also fairly popular method of notation is to draw out the noteheads themselves to show durations:

-__or______"__or

This method is best suited for vocal music or music for single-tone instruments. It runs into problems when used for the notation of small in- tervals and chords:

Tenor Piano

Come with me

One should not completely dismiss this method of drawing the noteheads out: It does possess a certain graphic immediacy. But for purely practical efficiency, the notes with the duration beams are eminently preferable, especially because they work for chords as well as for single tones.



Clusters Clusters, or tone clusters, have defied nota-

tional standardization, even at the Ghent Con- ference, except for keyboard clusters. The reason for this general indecision is that there are simply too many different types of clusters, each with its own notational requirements.

The major groups are clusters notated in symbolic durational notation and clusters notated in one of the various systems of proportionate notation.

Once this has been dealt with, there are several subspecies, such as clusters having specified pitches at either end, clusters having approximate widths and/or positions, and clusters that change position or width while they sound. For solo clusters (mostly keyboard) the three subspecies are chromatic, white keys only, and black keys only. En- semble clusters present slightly different problems: in a score they can be notated as if they were solo clusters, but in instrumental parts, specific pitches must be assigned to the individual players and these pitches should also be represented in the score, above the cluster or in a footnote.

The following cluster notations for keyboard instruments "won" at the Ghent Conference:

(la) Symbolic Notation of Precise Clusters Use ordinary noteheads at either end:

All such clusters are assumed to be chromatic.

For white-key clusters, place a large natural sign in front:

For black-key clusters, place a large sharp or flat in front:

If a given work or movement contains only white or black or chromatic clusters, a footnote should be placed at first occurrence, or a general instruction should be given at the beginning of the work. The large accidentals may then be omitted. If more than one type of cluster is used, the notation should be ex- plained at the beginning of the work, considering the present multitude of different notations.

(lb) Symbolic Notation of Approximate Clusters

Instead of black or white noteheads at either end of the cluster, the entire cluster acts as a black or white notehead equivalent:

(2a) Proportionate Notation of Precise Clusters

Use noteheads and duration beams:

(2b) Proportionate Notation of Approxi- mate Clusters

Instead of black or white noteheads at either end of the cluster, use the rectangular clusters shown in "lb." However, since the difference of black versus white noteheads has lost its

durational significance in proportionate notation, it is possible now to use these "colors" to indicate white-key clusters, black-key clusters, and chromatic (black and white) clusters, which obviates the need for the large accidentals:

= white-key cluster;

= black-key cluster;

chromatic cluster

R.H.

L.H.

The fairly widespread use of solid, horizontal- ly drawn-out clusters, while very "graphic" in showing the cluster sound, was discouraged at the Ghent Conference, except for clusters that change width and/or position while they sound:

rf Sfz i P

Needless to say, such clusters are best suited for music for chorus or string ensemble (parts would have to be worked out individually). Also, notation of this kind can only be used in a proportionately notated context.

Indeterminate repeats Indeterminate repeats are used to create tex-

tures that involve a mixture of controlled and chance elements. The composer notates short, different patterns of pitches andlor rhythms for some or all members of an ensemble. The

patterns are repeated over and over again for a specifiedduration or until the conductor gives a sign to stop. The tempo for the patterns (fast, slow, steady, variable) as well as the silences



between repeats and, occasionally, the dynamics are freely chosen by each member of the ensemble and should be different at each performance.

The music from such a performance will be recognizable by the basic patterns, which are always the same, but it will always differ in texture (in density, busyness, and sometimes in its dynamics) because all these variables are left to the discretion of the interpreters.

Indeterminate repeats should be notated as follows:

25 " f p f " Soprano

What's new? What's new? Ah!

cresc. sempff

Alto MOe ZV

An- y - bod-y dead? Ah!

A if. Lff 6 Tenor o

Hear ye, hear ye! Si -lence!

ad lib. f p Bass :eM

Noth - ing but trou- ble Ah!

The above example is, of course, no more than one way of notating such textures, and a relatively explicit example at that. The materi- al to be repeated may be more or less specific. A few additional examples (for a single part only, to save space) follow: Pitches and text syllables given; rhythm ad

lib. (the chosen rhythm pattern may be repeated or changed, depending on the instructions):

I f 0i n, da day dee do

Choose pitches within a given range; use given rhythm pattern:

3

I1: i . :i1

Pitches ad lib. (the arrow at the end of the continuation line shows that the repeat pattern runs on):

Often, indeterminate instructions are boxed. Dynamics ad lib. within a given range:

IPp mf



Choose from boxed articulation for all notes:

General instrumental notation

If at all possible, no sign should do double duty. Although signs that look alike but mean different things for different instruments (or voice) generally do not bother the respective performers (because they only see the signs that appear in the parts they play from), such signs confuse conductors and others who have to follow the score where all these signs appear together.

Among the most prevalent symbols that fall into this category are diamond- and x-shaped noteheads, and it is recommended that such noteheads be used less haphazardly than used to be the case. The following suggestions were endorsed by the Ghent Conference.

Diamond-shaped noteheads should be used only for manipulations, such as

Silent depression of piano keys:

ff

Tablature for artificial harmonics on

stringed instruments:

Half-valve sounds on brass instruments:

A /2. v

Key slaps, pitched (chiefly used for flutes):

Playing behind the bridge (stringed instruments):

Sord.

Let me go with you.

Sounds lacking a definable pitch are notated on a single line. Such a line should be drawn above the staff at a distance of approxi- mately two spaces so that it will not be mistak-

en for a staffline. Only in vocal music should the line be drawn below the staff, because the noteheads should be as close to the vocal text as possible. Instrumental notation:

Double Bass

Tap at body of instrument

Vocal notation (in this case spoken rhythmi- cally):

Speak to me!

Although x-shaped noteheads are best-liked for unpitched sounds, a few specific effects have come to be identified with other noteheads. For example, pierced, round noteheads suggest breathy sounds, such as blowing air through the flute:

In case of extended single-line passages, the five-line staff should be interrupted and a line drawn at the height of the staff's middle line.

Percussion notation

All the preceding recommendations for the use of different noteheads, unfortunately, are contradicted by the notation for percussion instruments. But there is a compelling reason for this inconsistency: The problems of percussion notation cannot be solved merely by using three or four different note shapes.

With the enormous growth, during recent decades, of our percussion sections, it has become increasingly difficult to read the notation. One reason for this is that there is no such thing as a typical percussion ensemble or section-the instrumentation invariably dif- fers from work to work, so that no standard score setup has developed as yet. Another source of confusion is the prevalence of pitched percussion instruments (vibraphones, marimbas, xylophones, glockenspiels, and so on). Since all these instruments must be notated on regular five-line staves, it is often misleading to also notate indefinitely pitched instruments on regular staves.

After considering the countless experi- ments that have been made to improve the situation, and the statistical and evaluative data submitted by the Index project (see Part 1 of this article), the Ghent conferees arrived at the following recommendations:

(1) Confine the use of regular staves to instruments that require them. For all other percussion instruments use single



lines (for individual instruments) or groups of single lines spaced somewhat farther apart than the regular staff (for instrument families, such as cymbals or tom-toms).

(2) Base each score setup on the following succession of basic categories, reading downward from the top of the score: glass; metals; woods (without definite pitches); pitched instruments in keyboard arrangements; skins and other membranes (without definite pitches); effects; and timpani.

Another aspect that has gained great importance in proper percussion notation is that of beater indications, something that in the past was ignored completely. The recommendations of the Ghent Conference are too numer- ous to list in this space, but a few general principles might again be cited:

Round heads should be used to indicate rubber and plastic beaters:

Irregular heads should be used for felt-covered or yarn-wound beaters and others of similar texture:

Bass drum and tamtam (gong) beaters should have rectangular heads:

For more specific distinctions, verbal indications (abbreviations if possible) must be used.

Concerning the range from soft to hard, the recommended system is as follows (the round heads are examples only and may of course be replaced with other types):

soft medium hard

wooden head with metal heads metal core heads

One last percussion item is a favored method of indeterminate notation. Dots of various sizes are placed in boxed areas. The number of dots in a box, as well as their vertical and horizontal positions, indicate approximate textures (density, busyness, and so on), as well as approximate pitches and rhythms. Their sizes denote relative dynamics.

.', ." ?

Other commonly used signs Here is a brief, random listing of some of the

new signs that have already become near- standard devices:

Play the highest note of your instrument:

trombone

Fermatas (beginning with the traditional fer- mata):

2" 3"+

Timbral trill on woodwind and brass instruments (fingering may be added, especially on woodwind instruments):

Bart6k pizzicato: 6

Fingernail pizzicato: ?2

Piano pedaling (damper pedal only):

,A A_ LAJ Ordinary pedaling:

I AJ

Gradual lifting and depressing of pedal:

..-I "- L_..- " "-._ Expansion of Schoenberg's signs for Principal Part: H- 1 (Hauptstimme) and Secondary Part: F-- 1 (Nebenstimme) to more than two levels:

Af "1 B' F- CF -1 etc.

Obviously, space limitations make it impossible to provide an exhaustive coverage of all the notational categories, or to go into greater detail. It is hoped, however, that the glimpse provided here has clarified the following as- pects of fundamental importance: First, new notation has long ago ceased to be a caprice of a few fringe composers and eccentrics. By now it has become an integral part of our era's music and must take its place among all the other disciplines that, together, constitute the basic curriculum of a proper music education. Second, after twenty-five years of notational experimentation, the time has come to stop inventing and, instead, to strive toward unifi- cation and standardization of new notation (except of course in the field of aleatory music), guided by the principles of practicability and graphic clarity, as well as general accept- ability. !



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