Empty Orchestra, second setting

The sideways position means something now. The original swung each stop left and right so the eye had to travel, which was decoration. Here the left track is Europe and the right track is Japan, so the two times this word changed continents are the two times the line crosses the sheet. The shape of the drawing is the argument the page is making.

空 kara is a stop rather than a footnote. In the original it was a special case, hard-coded to hang off one side. Here it is an ordinary node with an ordinary edge, so karaoke visibly has two parents: a Greek verb that has been travelling for two and a half thousand years, and a native Japanese word that walked in from the next street.

The rows are measured rather than counted, so each one is as tall as its own deepest note instead of every row clearing the longest note on the sheet.

It is still about a quarter taller, and that is the trade. The original hangs each note in the gutter opposite its stop, which is an excellent use of a wide sheet and keeps the whole thing short. This one sets the note underneath its form, because that is what lets a row hold two or three stops side by side, which is what makes lanes possible at all. Same type sizes and the same wording: 3,694 pixels against 2,962.

Everything else is the same on purpose. One ink per language, a solid line for a borrowing and a dotted one for a change inside one language, the same datings, the same hedge about the Greek verb's deeper etymology.