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Integer Notation Theory Resource
- Thread starter yakmastermax
- Start date
Benjamin Earl
Commercial User
- Dec 31, 2008
- 281
- 469
- Disclosures
- Fretboard Visualization Author
I haven't heard of integer notation. Most musicians use numbered scale degrees (raised or lowered) based off the major scale of the tonic (root note). 1 b2 2 b3 3 4 #4/b5 5 b6 6 b7 7
Let me know if a resource with fretboard patterns based on this method would help.
Let me know if a resource with fretboard patterns based on this method would help.
https://en.wikipedia.org/wiki/Pitch_class
Used to evaluate atonal and chromatic music. I never used it in music but it came up in one of my mathematics classes in college. I don't remember why.
Used to evaluate atonal and chromatic music. I never used it in music but it came up in one of my mathematics classes in college. I don't remember why.
One of my interests in integer notation is that it seems to be a notation that is much less centered on the diatonic scale, and while I'm only interested in integer notation as applied to the twelve tone equal temperament system, it seems like integer notation would more readily lend itself to true/just temperament/interval tunings, or at least frame things in a perspective that is more centered on relative interval ratios in an absolute sense rather than as modifications of the major scale (a particular set of relative interval ratios).
I really don't know though.
I really don't know though.
The most comprehensive treatise on the Integer Model of Pitch Class theory is probably George Perle's original Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern from 1962. (also, his follow-up from 1978, Twelve-Tone Tonality.)
But once you have the basic gist of the concept under your belt, I find a far more readible/understandable demonstration of how the Integer Model of Pitch Class theory can be musically useful -- as a composer, or an improvisor, or just a musician interested in thinking about harmonic/melodic analysis from other viewpoints -- is contained in John Rahn's Basic Atonal Theory from 1980, and Joseph N. Straus' Introduction to Post-Tonal Theory from 1990.
But once you have the basic gist of the concept under your belt, I find a far more readible/understandable demonstration of how the Integer Model of Pitch Class theory can be musically useful -- as a composer, or an improvisor, or just a musician interested in thinking about harmonic/melodic analysis from other viewpoints -- is contained in John Rahn's Basic Atonal Theory from 1980, and Joseph N. Straus' Introduction to Post-Tonal Theory from 1990.
I think OP means 0-11 notation, like for serialized music, set/cell theory, Schoenberg, that kind of stuff. Which is totally how I think about music half the time, even tonal music, so I dig. The Wikipedia entry on Set Theory (Music) cites some introductory treatises, that mostly deal with atonal stuff. Here is a post I did about rhythmic sets Rhythmic Cell Theory
I don't think there is much of a market for theory books calling a 5th a 7, or is it an 8? Does it start on zero or one? There are some Chapman Stick resources that may interest you.
Not sure bout this, but im a firm believer in numbered scale degrees and relationships. keys are a crutch. 
We have come a long way from the famous “Ut queant laxis
Resonare fibris
Mira gestorum
Famuli tuorum….”
Resonare fibris
Mira gestorum
Famuli tuorum….”
Not sure bout this, but im a firm believer in numbered scale degrees and relationships. keys are a crutch.
Same here. It’s counterproductive to try to force a modern 12-tone chromatic scale into a diatonic framework. Leads to all sorts of odd nomenclature. Especially when naming chords.
Ok. By the same token better than half of the technology driving today’s music is completely digital. And nearly all music today is recorded on computer based systems, in digital formats, and played back or streamed via digital playback devices and computer hosted networks.
So it could be argued that music is presently far more dependent on computers than computers ever were on music.
Just sayin’…
(0,3,7) is great nomenclature! It clearly denotes that you should play the major and minor triads, in all inversions!
That sounds like a very effective way of keeping yourself away from the instrument and the pratice room... (just my 2cts...). If you have some musical goals that require this, why not ?
