Music- The Pros and Cons of Written Notation

“Standard” music notation, as we know it today, arrived at its current form, more or less, during Bach’s lifetime (early 1700s). One big reason for this was that before the 1700s, keyboard instruments were not tuned in even or equal temperament meaning that not all half steps sounded the same. Before this, the difference between C and C# did not sound the same as the difference between F and F#.

Once keyboards were tuned so that every half step was equal, a player could play a piece in any key and the scale degrees in relation to each other would be the same. This means that music could be transposed, or moved up and down to different keys in order to better accommodate a singer’s or instrument’s range. 

Soon after, we see horns that have valves and woodwinds with more keys to be able to play chromatically, or by half steps in every key.

Our symbols of music notation tell us the pitch of each note (the letter name), the length of each note (which we call rhythm), changes in dynamics over time, how notes should be “attacked” with articulations, and the key of the music (flats and sharps that result from the starting note of the scale). 

For other information we rely on numbers (time signature), letters (dynamics for sections, chords) or a combination of words and numbers (expression descriptions, tempo, etc). 

Without understanding the system, someone familiar with the style of music being written would be able to see the basic beat structure in each measure and whether the notes are moving higher or lower, regardless of knowing the letter names or specifically what the rhythmic symbols mean.

Notice how a knowledge of what sound the symbols represent is a prerequisite. Without knowing the sound, the symbols are meaningless. It’s like trying to understand symbols that represent a forgotten language, if you are not sure how the spoken language sounded, the symbols would not help.

Try singing this song!

Immediately, one can see how written notation can be a barrier to someone who never learned to read it. 

Even with knowing the definition of each symbol, the style of the music will change it. For example, eighth notes in jazz may be written as eighth notes, but intended to be played as a “long-short” swing pattern. Knowing how the eighth notes should sound in other styles would not help unless the reader were familiar with the style of jazz.

Another rule-breaker is the entire concept of rubato, very common in many styles since the 19th century. Rubato describes the subtle slowing and quickening of the tempo regardless of what the overall pulse of the piece is. Often this is indicated with the word rubato and not any change in the symbols used.

Another shortfall of our notation system is it really only works for Western music. If, like me, you have ever tried to transcribe a traditional Indian piece, you will soon notice that their rhythms and pitches do not fit into our symbols, or rather, our notation system was not made for Indian music. Traditional Indian scales use quarter steps (between the space of two half steps). Western listeners have a very difficult time identifying these and not hearing them as wrong notes. The Indian rhythmic system is actually based on ragas. A piece may use Raga A, Raga C, and Raga M (I made up these labels). In other words, each rhythm pattern is a different idea, not made of smaller divisions or larger combinations of the beat.

Many traditional styles of African music are very difficult to reproduce rhythmically in Western notation. The issue one runs into is the Western idea of a time signature. When music is more or less steady, it helps to have beats grouped by measures with time signatures. Of course, later Western classical music did use changing meters or changing time signatures, but it still does not capture the pulse of multilayered rhythms that we find in many African styles. 

Just like any language, written notation has its shortcomings. As musicians, we need to remember that written notation is a tool--a wonderful tool that can open many doors to explore other styles of music, but the symbols on the page are not music in themselves. The music comes from a person interpreting those symbols.

When I introduce composition to my youngest students, I do not require them to write in standard notation. Some of them choose to follow it fairly closely, others create their own, equally valid, system, and others use a hybrid of familiar notes and their own way of interpreting them. 

The only requirement I use is that the student should be able to explain their system and teach it to a classmate. I even had a student once write rhythms for bongos. Not only did the student have a way to know the pattern he was playing but also a way to identify which bongo he was playing, something that is more difficult in standard notation unless the first measure has high bongo and low bongo labelled using text.

I write this article simply to encourage us to reconsider what many of us grow up learning may not be the only legitimate way to record sound on paper. We also must reconsider that reading standard notation may not be the only correct way to learn and to understand music.

In many music schools, students are not accepted into the program if they cannot read standard Western notation. Once I completed music school and began to make music with musicians that learned in ways other than myself, I had the privilege to make music with many people that learn music by ear. 

Two ways to notate the same music.

Learning music by ear is not a deficiency as many would lead students to believe. Music is an aural art form and I have found that those that rely more on their ear than their eye can often respond and react more quickly. 

Musicians that do not read standard Western notation are not musically illiterate. They may in fact be reading something, just written a different way. There have been many very successful musicians that solely read chord symbols. If you are not familiar with chord symbols- with just a couple of letters or note names, the experienced player knows which notes to play and based on the alignment of the chord symbols over the lyrics, when to change chords. By only showing the changes, this can often give players much input for the rhythm of the chord repetitions between changes. Although the letter system of chords comes from Jazz. Even in the 1600s-1700s, there was a system of chord shorthand known as figured bass. The bassline would be written out in standard notation and the harmonies would be implied by the figured bass symbols.

Other forms of notation work especially well for string instruments like bass, guitar, and ukulele. Fretboard diagrams show the player where to put their fingers on the strings and sometimes even number the dots to show which finger to use. Similar to this, tablature shows the strings of the instrument themselves and which fret of the instrument (no fingers down would be 0) to press on that string. Fretboards and tablature are most helpful when the player already has an idea of the beat or rhythm of the piece.

As you can see, standard Western notation has been well developed for very specific instructions and helps musicians to share ideas without hearing something first, but it is not the only way to write and to share musical ideas. If we can expand our thinking on how we share music, we open the experience of playing and creating music to more people. Please share your thoughts in the comments.