Yahoo Tuning Groups Ultimate Backup tuning The "best" 72-et notation, microtonal brass and winds

I haven't been following the debate over the role medieval Islam played on musical development very well; I've been too busy, and I have a personal rule about staying out of even semi-OT discussions, most of the time. But I liked Daniel Wolf's most recent posting, so much that I saved it and printed it out. Now I have to acquaint myself on Ethiopian trichords...

Anyway, I'm working on this new project. That one I recently near-finished is for piano (or six Bösendorfer Imperial grands tuned 16.67 cents apart hooked up by a single MIDI controller, which would make the world's most expensive player piano); this new one, also in 72-equal, is for orchestra. The strings and trombones are no problem, obviously, but how am I going to realistically going to handle horns, trumpets, flutes, clarinets and double reeds? I used to play clarinet and saxes myself, and used to know a few microtonal fingerings and how to alter the embouchure, but I'll probably have to score these parts in 12-equal and use strings and 'bones much more than the other instruments.

I might as well replace trumpets with soprano trombones, but hardly anybody plays those anymore. And you just can't leave French horns out of orchestra or band work.

I'm not as savvy with brass instruments (my brother played horn and trumpet in school though). I'm reading Joe Monzo's article on intonation issues with trumpet (http://tonalsoft.com/monzo/trumpet/trumpet-intonation.htm) and know about quarter-tone trumpets and flutes. So I think I'll make the woodwinds and horns 24-et.

I need to make scores of my work eventually, and I'm wondering which 72-et notation I need to use. I've been using Tartini-Couper accidentals for a while (see http://dkeenan.com/sagittal/gift/Episode1.htm and go to the middle of the page) with "sagittal" modifications. Next to the accidental, I'll place small arrows (↑↓) to raise a 24-et pitch by one step in 72. So the scale formed by harmonics 8-16 would be notated C D E↓ F‡ G Ad↓ Bdb↑ B↓ C.

I know there's no "standard" way to notate this, but I do see a strong leaning towards Tartini-Couper for quarter-tone and extended meantone tunings (especially 31-et). I also made flats and sharps 100 cents and semiflats and semisharps 50 cents since it would be more convenient for Western and Arab musicians who are used to 12/24-equal.

Or could I do better? I do know of HEWM and Sims notation already, and of course Sagittal. I just need to notate 72-edo here, remember. ~D.

--- In tuning@yahoogroups.com, Danny Wier <dawiertx@...> wrote:

> I need to make scores of my work eventually, and I'm wondering which
> 72-et notation I need to use. I've been using Tartini-Couper
accidentals
> for a while (see
> http://dkeenan.com/sagittal/gift/Episode1.htm and go
> to the middle of the page) with "sagittal" modifications. Next to the
> accidental, I'll place small arrows (â`â") to raise a 24-et pitch
by one
> step in 72. So the scale formed by harmonics 8-16 would be notated C D
> Eâ" Fâ¡ G Adâ" Bdbâ` Bâ" C.

Hi Danny,

Sounds like awesome stuff you're doing.

It's a pity the symbols didn't show up properly here. I assume you're
using the half-arrows with the straight barb on the left, i.e. the
modified Bosanquet slashes whose meaning is the 5-comma (syntonic or
didymus comma). Here's a HTML fragment that might work for readers who
have installed the Sagittal version 2 font.
http://dkeenan.com/sagittal/Sagittal2.0d6.ttf
<html><body>E!
b </body></html>
It consists of
(html)(body)(font face="Sagittal" size=7)E!
b (/font)(/body)(/html)
where the parentheses () are replaced with angle brackets <>.

The numbers between &# and ; are the decimal character codes of the
symbols as given in the Sagittal2 character map
http://dkeenan.com/sagittal/Sagittal2_character_map.pdf

But in case that doesn't work. And to avoid having to write in HTML.
I'll just use ordinary slashes / (up) \ (down) to represent the
1/12th-tone symbols and > (semisharp) and < (semiflat) to represent
the Tartini-Couper quartertone symbols and ask whether what you
intended to write above for harmonics 8-16 corresponds to:
C D E\ F> G A<\ B<b/ B\ C ?

I note that 72-edo doesn't really have a good enough approximation of
the 13th harmonic. As Erv Wilson pointed out, what you get from C:A<\
is actually the phi interval. MI rather than JI.

> I know there's no "standard" way to notate this, but I do see a strong
> leaning towards Tartini-Couper for quarter-tone and extended meantone
> tunings (especially 31-et). I also made flats and sharps 100 cents and
> semiflats and semisharps 50 cents since it would be more convenient for
> Western and Arab musicians who are used to 12/24-equal.
>
> Or could I do better? I do know of HEWM and Sims notation already, and
> of course Sagittal. I just need to notate 72-edo here, remember. ~D.

This is a good notation because:
(a) You have used existing symbols rather than inventing your own.
(b) You have used the existing symbols with their existing meanings.

Yes Tartini-Couper (TC) symbols are popular for representing
semi-sharps and semi-flats, but mostly only in tunings that need
_only_ semi-sharps and semi-flats, i.e. 17-edo, 24-edo, 31-edo.

I note that none of the 3 most common notations for 72-edo use them.
They all use a 12-edo backbone with symbols for alterations of 1, 2
and 3 degrees of 72-edo. And they all use something other than TC for
3 degrees -- square root signs in Sims and full arrows in HEWM and
Sagittal.

I suggest that 2-degree symbols are used because it avoids having more
than two accidentals against a single note. And I suggest that TC
symbols are not used because there is no clean and obvious way to
extend their metaphor (which is actually two quite differnet metaphors
for the upward and downward symbols) to finer subdivisions.

Arrows are an obvious choice for the smaller subdivisions and then you
can't help noticing that 1 + 2 = 3 and thinking that a small
half-arrow and a large other-half-arrow could add to a whole arrow.

I'll use f (up) and t (down) to represent 2-degree alterations here
(1/6th-tones), as approximating the Sagittal 7-comma (septimal-comma)
symbols. HTML attempt:
<html><body>E
b</body></html>

Do you think it will be easier for a performer to be presented with
say the 7th harmonic from C as "B-flat down-2" rather than "B-flat
down-3 up-1" (or "B-flat half-flat up-1"), i.e. Bbt rather than B<b/ ?

On the staff they would be
tb(notehead) versus /<b(notehead)
<html><body>b# versus
E!"</body></html>
following the rule that the largest alteration is closest to the
notehead. Some other 2-degree symbol could be used here instead of the
Sagittal 7-comma symbol. My point is just about having too many
symbols with conflicting directions against a single note.

If performers have already internalised 24-edo using TC notation so
that they can go straight to a "B-sesquiflat" without having to think
of it as something like a "B-flat half-flat-again" then it wouldn't
matter so much, as they would just read the latter as "B-sesquiflat
up-1-degree".

Of course my favourite 72-edo notation is that shown in the middle row
of figure 12 on page 20 of
http://dkeenan.com/sagittal/Sagittal.pdf
I understand that the notation you propose above is the same as this
for plus and minus 1, 5 and 6 degrees (and would be the same for 7
degrees although this is not shown).

As part of the Sagittal system, this 72-edo notation is integrated
with notations for JI and all other subdivisions of 12-ET and other
harmonically-related tunings. I know you only want a notation for
72-ET. But what about the performers? Microtonal performers are a rare
breed and I can imagine them being asked to play in JI or 22-edo or
96-edo the next month. Why not make it possible for them to reuse at
least some of the knowledge they have gained in reading your 72-edo
notation.

Having said that, I would have no great problem if you were to simply
exchange the TC symbols for the quartertone arrows. We've done our
best to design the TC symbols in the Sagittal-2 font in a consistent
style with the arrows, which were themselves designed to be consistent
with the conventional sharps and flats regarding curvature, stroke
weights and tapers and stroke terminations.

Regards,
-- Dave Keenan

Hello,

You may use Wyschnegradsky's notation (see the gif attached). He was,
I think, the first to use and theorize 12th tone (with Alois Hába).
And also you could use, for woodwind and brass instruments,
quartertones on 3 of each instruments, tuned a 12th tone apart... The
fingering for quartertones are available in a lot of books on
Technics for clarinet, oboe, horn, etc.

Best regards,

Fabrice Lengronne

On 19/08/2008, at 04:28 , Danny Wier wrote:

> I haven't been following the debate over the role medieval Islam
> played
> on musical development very well; I've been too busy, and I have a
> personal rule about staying out of even semi-OT discussions, most
> of the
> time. But I liked Daniel Wolf's most recent posting, so much that I
> saved it and printed it out. Now I have to acquaint myself on
> Ethiopian
> trichords...
>
> Anyway, I'm working on this new project. That one I recently
> near-finished is for piano (or six Bösendorfer Imperial grands tuned
> 16.67 cents apart hooked up by a single MIDI controller, which would
> make the world's most expensive player piano); this new one, also in
> 72-equal, is for orchestra. The strings and trombones are no problem,
> obviously, but how am I going to realistically going to handle horns,
> trumpets, flutes, clarinets and double reeds? I used to play clarinet
> and saxes myself, and used to know a few microtonal fingerings and how
> to alter the embouchure, but I'll probably have to score these
> parts in
> 12-equal and use strings and 'bones much more than the other
> instruments.
>
> I might as well replace trumpets with soprano trombones, but hardly
> anybody plays those anymore. And you just can't leave French horns out
> of orchestra or band work.
>
> I'm not as savvy with brass instruments (my brother played horn and
> trumpet in school though). I'm reading Joe Monzo's article on
> intonation
> issues with trumpet
> (http://tonalsoft.com/monzo/trumpet/trumpet-intonation.htm) and know
> about quarter-tone trumpets and flutes. So I think I'll make the
> woodwinds and horns 24-et.
>
> I need to make scores of my work eventually, and I'm wondering which
> 72-et notation I need to use. I've been using Tartini-Couper
> accidentals
> for a while (see
> http://dkeenan.com/sagittal/gift/Episode1.htm and go
> to the middle of the page) with "sagittal" modifications. Next to the
> accidental, I'll place small arrows (↑↓) to raise a 24-et pitch
> by one
> step in 72. So the scale formed by harmonics 8-16 would be notated C D
> E↓ F‡ G Ad↓ Bdb↑ B↓ C.
>
> I know there's no "standard" way to notate this, but I do see a strong
> leaning towards Tartini-Couper for quarter-tone and extended meantone
> tunings (especially 31-et). I also made flats and sharps 100 cents and
> semiflats and semisharps 50 cents since it would be more convenient
> for
> Western and Arab musicians who are used to 12/24-equal.
>
> Or could I do better? I do know of HEWM and Sims notation already, and
> of course Sagittal. I just need to notate 72-edo here, remember. ~D.
>
>

Hmm. My HTML inserts don't display when viewing the previous message
on the Yahoo website, but when I forwarded it to myself as email, my
email client (Eudora) interpreted the HTML and displayed them just fine.

Anyone know how to make HTML work for those viewing group messages on
the Yahoo website?

Of course you still need to have the font installed.

-- Dave Keenan

Hi Fabrice,

I think attachments are automatically removed from messages posted to
this group. You can put your GIF file in the files area of the group's
website and direct readers to it. However there is already one here:
http://dkeenan.com/sagittal/gift/Image6.gif

Regards,
-- Dave Keenan

--- In tuning@yahoogroups.com, Fabrice Lengronne <fabrice@...> wrote:
>
> Hello,
>
> You may use Wyschnegradsky's notation (see the gif attached). He was,
> I think, the first to use and theorize 12th tone (with Alois HÃ¡ba).
> And also you could use, for woodwind and brass instruments,
> quartertones on 3 of each instruments, tuned a 12th tone apart... The
> fingering for quartertones are available in a lot of books on
> Technics for clarinet, oboe, horn, etc.
>
> Best regards,
>
> Fabrice Lengronne

This might not solve any of your problems or you might not care, but
I prefer to notate pitches according to their base-2 logs in
duodecimal (with X for ten and E for eleven), with middle C indicated
as 8'0 (regardless of actual tuning). Then, a twelve-edo semitone
higher is 8'1, a whole tone higher (D) is 8'2, etc. 9'0 would be C5
(C's end in '0).

Then, a twelfth tone is a relative '02. Between 8'00 and 8'10 would
be...

8'00
8'02
8'04
8'06
8'08
8'0X
8'10

(The duodecimal radix mark, I happen to use an apostrophe, can be
omitted to conserve space).

It's basically using pitch numbers instead of notes (and a profusion
of accidentals). You may think it's a bad idea, and maybe it is, but
I like it.

May I encourage you to use a 72-tone notation in which the relationship to both 12tet and JI is made clear and notation of interval classes is invariant? That would maximize the potential for interpreters to navigate your notation.

Any of the Helmholz-Ellis variants will do: HEWM, Saggital, Plainsound etc.. Use the diatonic set, with normal sharps and flats to indicate the near-pythagarean 12tet set as a basis, then add alterations for the 81/80 comma ~= 12th tone up and down, the 64/63 septimal comma ~= 1/6th tone up and down, and some quartertone symbol (Tartini-Couper is fine) will map well to 33/32s.

Daniel Wolf

I'm replying to everyone that replied to me, namely Fabrice, Dave and Daniel:

To Fabrice: My notation is a little like Wyschnegradsky's, at least in regards to using regular and quarter tone accidents with modifiers. I need to make a graphic of what I'm using and post the link.

To Dave: the Unicode symbols I was intending to make were regular arrows up and down, and the double dagger (diesis) symbol for the quarter tone sharp. Next time I won't use Unicode in e-mail; it's not always guaranteed to show up right with all readers.

I have the Euterpe font: http://openfontlibrary.org/media/files/Eimai/191 , a free musical font, but you have to be able to view Plane 1 in Unicode to use it (my Linux distro and Windows Vista do, that's all I know). I could use Sagittal, I know; it does what I need.

Daniel: I just might use mixed Sagittal, with Tartini-Couper accidentals in place of the arrow for 33/32. I would like to keep everything simple, and since, for example, 64/63, 49/48, 50/49, 55/54 and some other ratios all equal 2 commas in 72-edo, I'd rather use the same symbol for all these; I'm not writing in strict LJ here.

Again, thanks for the advice; I'm working on the new piece now. I'm finding you can do some nice counterpoint using an overtone scale. I'm using the first 18 harmonics, and the trumpet in Bach's Brandenburg Concerto No. 2 goes up that high, I think, so it's doable.

~D.

--- In tuning@yahoogroups.com, Danny Wier <dawiertx@...> wrote:
Hi Danny,

Some memory aids for performers, with the 72-edo sagittals:

The 1 degree symbol has only straight lines like the numeral "1".
In fact the 1-up symbol looks like a "1" with the slanted stroke
exaggerated.
The 2 degree symbol has a curve like the numeral "2".
The 3 degree symbol has 3 strokes. (but TC symbols are fine too)

And they increase steadily in apparent size if you consider the area
"enclosed" by the flags on the shaft.

More generally they are of course 5-comma, 7-comma and 11-diesis
symbols. The 5-comma symbol was thought to need no introduction, being
Bosanquet's slash with a shaft added, but it's also the
simplest-possible (half) arrow used for the most common comma. The
7-comma symbol is curved like the 7-colour rainbow. The 11-comma
symbol is the arrow of Apollo, after whom the Apollo-11 moon landing
was named.

What notation software are you planning to use?

-- Dave Keenan

Dave Keenan wrote:
> --- In tuning@yahoogroups.com, Danny Wier <dawiertx@...> wrote:
> Hi Danny,
>
> Some memory aids for performers, with the 72-edo sagittals:
>
> The 1 degree symbol has only straight lines like the numeral "1".
> In fact the 1-up symbol looks like a "1" with the slanted stroke
> exaggerated.
> The 2 degree symbol has a curve like the numeral "2".
> The 3 degree symbol has 3 strokes. (but TC symbols are fine too)
> I do remember that bit, thanks.
> What notation software are you planning to use?
> Probably Lilypond, but I still need to learn how to use it. I may just write the ragtime piece in 31-equal, use TC notation and forget about arrows. This new thing I'm writing will need full 72-edo representation, however.

~D.

--- In tuning@yahoogroups.com, Danny Wier <dawiertx@...> wrote:
> Probably Lilypond, but I still need to learn how to use it. I may just
> write the ragtime piece in 31-equal, use TC notation and forget about
> arrows. This new thing I'm writing will need full 72-edo
representation,
> however.

Unfortunately Lilypond doesn't yet work with Sagittal or any other
accidentals font other than their own (except maybe for a kludge that
lets them work for single notes but not chords).

But you could check out this Google group Carl started, where Graham
Breed and I have been working on the Lilypond problem. We're stalled
temporarily until Graham comes back from wherever he's gone.
http://groups.google.com/group/microtools/

Regards,
-- Dave Keenan

Danny Wier wrote:

> I have the Euterpe font: > http://openfontlibrary.org/media/files/Eimai/191 , a free musical font, > but you have to be able to view Plane 1 in Unicode to use it (my Linux > distro and Windows Vista do, that's all I know). I could use Sagittal, I > know; it does what I need.

This looks useful; thanks for the link. There's a Windows registry setting for Windows XP to use Plane 1 characters.

http://www.i18nguy.com/surrogates.html

Herman Miller wrote:
> Danny Wier wrote:
>
> >> I have the Euterpe font: >> http://openfontlibrary.org/media/files/Eimai/191 , a free musical font, >> but you have to be able to view Plane 1 in Unicode to use it (my Linux >> distro and Windows Vista do, that's all I know). I could use Sagittal, I >> know; it does what I need.
>> >
> This looks useful; thanks for the link. There's a Windows registry > setting for Windows XP to use Plane 1 characters.
>
> http://www.i18nguy.com/surrogates.html
> Okay great, since I know there's a lot of resistance among XP users towards Vista. And I think IE7 has the ability to view Plane 1 characters already (it can view all the Chinese characters in GB 18030, now official in the PRC).

Euterpe has some neat characters in the Private Use area, including Tartini-Couper 1/4 and 3/4 tone accidentals, an old variant form of the F (bass) clef, various letter forms. I just need to get it to align correctly with regular fonts in documents. ~D.

I note that Euterpe "Covers the Unicode musical symbols block, and
some extra symbols in the private use area".

And that the unicode musical symbol block is intended for musical
symbols to be used in text, rather than on a staff.

From unicode documentation:
"Musical notation, and particularly Western musical notation, is
different from ordinary text in the way it is laid out, particularly
the representation of pitch and duration in Western musical notation.
However, ordinary text commonly refers to the basic graphical elements
that are used in musical notation, and it is primarily those symbols
that are encoded in the Unicode Standard."

However, I expect you can still make them work on a staff with
appropriate offsets and scaling.

-- Dave Keenan

--- In tuning@yahoogroups.com, Herman Miller <hmiller@...> wrote:
>
> Danny Wier wrote:
>
> > I have the Euterpe font:
> > http://openfontlibrary.org/media/files/Eimai/191 , a free musical
font,
> > but you have to be able to view Plane 1 in Unicode to use it (my
Linux
> > distro and Windows Vista do, that's all I know). I could use
Sagittal, I
> > know; it does what I need.
>
> This looks useful; thanks for the link. There's a Windows registry
> setting for Windows XP to use Plane 1 characters.
>
> http://www.i18nguy.com/surrogates.html
>

Dave Keenan wrote:
> --- In tuning@yahoogroups.com, Danny Wier <dawiertx@...> wrote:
> >> Probably Lilypond, but I still need to learn how to use it. I may just >> write the ragtime piece in 31-equal, use TC notation and forget about >> arrows. This new thing I'm writing will need full 72-edo
> Unfortunately Lilypond doesn't yet work with Sagittal or any other
> accidentals font other than their own (except maybe for a kludge that
> lets them work for single notes but not chords).
> I checked the documentation; it does do semisharps and semiflats (and sesquiwhatevers). But you are stuck with backwards flats; no dice for Arabic stroke-flats.

I could jury rig small arrows (again, for twelfth tones) into the score somehow after it's all been compiled, somehow. Or write them in by hand, like Bartok did for quarter tones.
> But you could check out this Google group Carl started, where Graham
> Breed and I have been working on the Lilypond problem. We're stalled
> temporarily until Graham comes back from wherever he's gone.
> http://groups.google.com/group/microtools/
> Thanks for the invite, but I got way too much going on in my e-mail right now. I still need to learn what's available right now. ~D.

On Aug 22, 2008, at 2:20 AM, Danny Wier wrote:
> Dave Keenan wrote:
> > --- In tuning@yahoogroups.com, Danny Wier <dawiertx@...> wrote:
> >
> >> Probably Lilypond, but I still need to learn how to use it. I > may just
> >> write the ragtime piece in 31-equal, use TC notation and forget > about
> >> arrows. This new thing I'm writing will need full 72-edo
> > Unfortunately Lilypond doesn't yet work with Sagittal or any other
> > accidentals font other than their own (except maybe for a kludge > that
> > lets them work for single notes but not chords).
> >
>
> I checked the documentation; it does do semisharps and semiflats (and
> sesquiwhatevers). But you are stuck with backwards flats; no dice for
> Arabic stroke-flats.
>
Presently, Lilypond supports only a limited set of accidentals, but we can already do some things microtonal-wise. (Dave already mentioned that there is some work in progress for getting Sagittal notation in Lilypond)

As there are semisharps and semiflats, we can do 31 ET with Lilypond. With quite some Lilyhacking, I also managed to do 22 ET. Because, of the (present?) limitations of Lilypond, the accidental set is somewhat unconventional. Here is an example (Lilysource and output)

http://strasheela.sourceforge.net/strasheela/contributions/anders/ET22/doc-DB/ET22-notation.pdf
http://strasheela.sourceforge.net/strasheela/contributions/anders/ET22/doc-DB/ET22-notation.ly

Finally, there is already some support for Arabic music notation buildin in Lilypond.

http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Arabic-music#Arabic-music
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Arabic-music-example#Arabic-music-example

Scoll down for maquam example:
http://lilypond.org/doc/v2.11/Documentation/topdocs/NEWS.html

Best
Torsten

> I could jury rig small arrows (again, for twelfth tones) into the > score
> somehow after it's all been compiled, somehow. Or write them in by > hand,
> like Bartok did for quarter tones.
> > But you could check out this Google group Carl started, where Graham
> > Breed and I have been working on the Lilypond problem. We're stalled
> > temporarily until Graham comes back from wherever he's gone.
> > http://groups.google.com/group/microtools/
> >
>
> Thanks for the invite, but I got way too much going on in my e-mail
> right now. I still need to learn what's available right now. ~D.
>
>
--
Torsten Anders
Interdisciplinary Centre for Computer Music Research
University of Plymouth
Office: +44-1752-586219
Private: +44-1752-558917
http://strasheela.sourceforge.net
http://www.torsten-anders.de

Hi Danny,

--- In tuning@yahoogroups.com, Danny Wier <dawiertx@...> wrote:
>
> Dave Keenan wrote:
> >
> > What notation software are you planning to use?
> >
>
> Probably Lilypond, but I still need to learn how to use
> it. I may just write the ragtime piece in 31-equal, use
> TC notation and forget about arrows. This new thing I'm
> writing will need full 72-edo representation, however.

Torsten's reply explained the limitations of Lilypond
WRT microtonal accidentals ... and i can also tell you
from my experience with it that there's a fairly steep
learning curve if you enter the music as a text file.
However, the output musical score is superb and stunning.

I would recommend microABC, which already has Sagittal support.
ABC also has a learning curve if you enter your score as
text, but i find it fairly quick and easy to get used to.

... and you could always use Tonescape to do the composing
part more easily, then export it to either MIDI or Csound,
if that helps.

-monz
http://tonalsoft.com
Tonescape microtonal music software

Dave Keenan wrote:
> I note that Euterpe "Covers the Unicode musical symbols block, and
> some extra symbols in the private use area".
>
> And that the unicode musical symbol block is intended for musical
> symbols to be used in text, rather than on a staff.
>
> >From unicode documentation:
> "Musical notation, and particularly Western musical notation, is
> different from ordinary text in the way it is laid out, particularly
> the representation of pitch and duration in Western musical notation.
> However, ordinary text commonly refers to the basic graphical elements
> that are used in musical notation, and it is primarily those symbols
> that are encoded in the Unicode Standard."
>
> However, I expect you can still make them work on a staff with
> appropriate offsets and scaling.

Sibelius and Finale use TTF fonts, I believe, and I know Noteworthy does; I'm not sure about Denemo.

There's something for the Google group... a word processor-style score writer that uses Euterpe; it doesn't have to play back using MIDI, but of course that would be a nice feature. Unless such an application already exists.

That font, by the way, does have staff segments in Private Use, from one to six lines. ~D.

Torsten Anders wrote:

> Presently, Lilypond supports only a limited set of accidentals, but > we can already do some things microtonal-wise. (Dave already > mentioned that there is some work in progress for getting Sagittal > notation in Lilypond)
>
> As there are semisharps and semiflats, we can do 31 ET with Lilypond. > With quite some Lilyhacking, I also managed to do 22 ET. Because, of > the (present?) limitations of Lilypond, the accidental set is > somewhat unconventional. Here is an example (Lilysource and output)
>
> http://strasheela.sourceforge.net/strasheela/contributions/anders/ > ET22/doc-DB/ET22-notation.pdf
> http://strasheela.sourceforge.net/strasheela/contributions/anders/ > ET22/doc-DB/ET22-notation.ly
>
> Finally, there is already some support for Arabic music notation > buildin in Lilypond.
>
> http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Arabic- > music#Arabic-music
> http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Arabic- > music-example#Arabic-music-example
>
> Scoll down for maquam example:
> http://lilypond.org/doc/v2.11/Documentation/topdocs/NEWS.html

And it does Turkish music (Arel-Ezgi-Uzdilek notation) now. It's listed as a new feature for version 2.11. I'm still using 2.10 since it's the newest stable version.

Using wedges for comma adjustments isn't unacceptable for me, so I can combine the symbols for 31 and 22. I still need to learn the basics of the problem. Thanks again. ~D.

The "best" 72-et notation, microtonal brass and winds

🔗Danny Wier <dawiertx@...>

🔗Dave Keenan <d.keenan@...>

🔗Fabrice Lengronne <fabrice@...>

🔗Dave Keenan <d.keenan@...>

🔗Dave Keenan <d.keenan@...>

🔗Tony <leopold_plumtree@...>

🔗Daniel Wolf <djwolf@...>

🔗Danny Wier <dawiertx@...>

🔗Dave Keenan <d.keenan@...>

🔗Danny Wier <dawiertx@...>

🔗Dave Keenan <d.keenan@...>

🔗Herman Miller <hmiller@...>

🔗Danny Wier <dawiertx@...>

🔗Dave Keenan <d.keenan@...>

🔗Danny Wier <dawiertx@...>

🔗Torsten Anders <torsten.anders@...>

🔗monz <joemonz@...>

🔗Danny Wier <dawiertx@...>

🔗Danny Wier <dawiertx@...>