“How could pitch bracket notation possibly replace standard notation?”

I have been asked this question on several occasions. You may be disappointed to learn that my goal was never to replace or somehow antiquate traditional notation. Rather, I wanted to capture the complex patterns of pitch in a visual form, one which places the […]

Serenade magazine article

Serenade magazine in India published an article I wrote on pitch bracket notation. In this article I convey the core of my notation along with my rationale for creating it. I want to thank Nikhil Sardana and the people at Serenade magazine for publishing my […]

CutCommon magazine article

I’m grateful to CutCommon magazine in Australia for sharing my notation with the people of Australia and the world. They have been writing fascinating content since 2014 and helping keep classical music alive and vibrant in the 21st century. Just this month CutCommon released their […]

Lost in pitch space

I’ve received great feedback from many people around the world about pitch bracket notation. One question I’ve heard a few times is, how do you prevent from getting lost while reading a melody line. After all, the pitch of a note is relative to the […]

3rds and triads

In most classical and modern music the interval of a 3rd is considered critical to establishing the quality of a chord or key center (i.e. major or minor). In terms of scale steps, a triad is two diatonic scale steps, thus one b2 bracket. In […]

Harmonic series and Chopin’s 2nd concerto

In the study of acoustics we learn that a single tone is composed of a fundamental frequency and an array of harmonic overtones frequencies (also known as harmonics) which are integer multiples of the fundamental frequency. Our neural system assembles the fundamental and the overtones […]

Time brackets in practice

I introduced time brackets as a means of writing down rhythms found in music. The melody line starts with a time value of 1. This corresponds to one measure no matter which time signature (i.e. 4/4, 2/4, 3/4, etc). The time value can then be […]

Tuning pitch brackets: part 2

The Pythagorean tuning system prevailed in Europe until the early 16th century. Pythagorean tuning uses only pitch intervals of the octave (2:1) and the perfect 5th (3:2). The purpose of any tuning system is to divide an octave into a sequence of scale steps. The […]

Scales and the chromatic pitch brackets

Pitch brackets change the pitch of the melody line by adding or subtracting scale steps. But which scale? Major or minor diatonic, chromatic, pentatonic? Do pitch brackets work equally well for all scales? How do pitch brackets add or subtract chromatic steps to diatonic scales? […]

Pitch bracket intervals

The names of the brackets, b1 through b7, correspond to the number of scale steps they add. When speaking about intervals, on the other hand, the bracket name is one less than the interval. For example, the b1 bracket corresponds with the 2nd. The b4 […]