non-notation

Jonathan M. Szanto wrote, concerning my comment about notation:

>...doesn't Paul's last bit, "the situation may be different where performers
>are involved but I find it a tremendous relief not to have to bother with
>it" read almost like "bother with them" (i.e., live musicians performing the
>work)?

Yes - my choice of the word 'bother' my have sounded dismissive of live
performers. I apologise. Be assured that it was not my intention to
denigrate anyone's musical practice.

It happens that for one reason or another, playing live can fail,
temporarily or otherwise, to be an option. Then the resort to non-realtime
at least has the compensation of being potentially without the encumbrance
of notation. I suspect that quite a few readers of this list may be in
that position - which would explain why not many could respond when asked
what method of notation they used.

The appeal of software can be compelling for all sorts of reasons. But
perhaps this is not the place to discuss the socialogical aspects of live-
versus canned music. Or is it?

Paul Turner

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Again, I'm new to the list. Please forgive me if this is covered in a FAQ I
haven't read.

How is 19TET music notated? Gregg Gibson's recent writings on the subject
have been quite enlightening, but I don't understand how music would be
communicated if the octave were divided differently. What becomes of our
familiar A B C D E F G? Has a system been developed, or is this "left as an
exercise for the reader"?

-b0b-
-----
quasar@wco.com (Bobby Lee)
http://wco.com/~quasar/


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From: Johnny Reinhard
Subject: RE: American Festival of Microtonal Music
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>Again, I'm new to the list. Please forgive me if this is covered in a FAQ I
>haven't read.
>How is 19TET music notated?

19TET (19-tone-per-octave equal-temperament) is usually notated
traditionally with a chromatic scale reading C, C#, Db, D, D#, Eb, E,
E#/Fb, F, F#, Gb, G, G#, Ab, A, A#, Bb, B, B#/Cb, C, ... So C-C# is 1/19
octave, as is C#-Db. E# and Fb are the same note (enharmonic equivalents),
and sit between E and F in pitch. And the situation is similar for B#/Cb.

Also, Dbb is enharmonically equivalent with C# rather than C, and
similarly for other double-sharps and double flats. That is because Dbb
must be the flat of Db, so it must bear the same relationship to Db as Db
bears to D (a chromatic rather than diatonic half-step).

Once you use those pitches for the 19 notes of the octave, traditional
scale nomenclature applies, and you can play traditional music. By that I
mean that the results sound fairly similar with what it would sound like in
12TET.


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From: mr88cet@texas.net (Gary Morrison)
Subject: Re: Handel's organ
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