Re:Comparing notations; was:Lilypond now supports Microtonal Helmholtz-

Hi Torsten~
Myself i have always used a notation that was 'scale based' as opposed to one that was harmonically based. This works for keyboards and original instruments where say the bars, strings, tubes are arrange in a generalized pattern. This way the notation tells you 'where' the note is that you are playing. While the notation for all say 31 tone scales would be the same, the problem comes with other players. One can in that instance write out the scale and just tell the player what the deviation from 12 ET is. This is much simpler i think that having to add symbol upon symbol together that in the end one writes above the note being its deviation from 12 ET. This became apparent to me when i had to help a violinist to play a Ben Johnston piece. The process to just figure out the pitches took hours.

I wasn't quite clear before is saying it is interesting in that it shows how notation will effect ones thinking and subsequently how the music will develop. Where as Tenney from what i understand was interested in the material most ignored on this list through the years, pitches that fall close to the same that here would be tempered out. the Extended Helmholtz-Ellis JI Pitch Notation is good for this. These are things that could not and would not pop up in any MOS or Constant structure or those inclined to tempering. On the other hand it is limit-based and any of my tunings based on a recurrent sequence would require a new symbol for every note and would be impractical.

I have become more biased toward scales over low limit harmony or harmony over scales. I find that if i have a good scale i can pretty much use the harmonies it determines. The Extended Helmholtz-Ellis JI Pitch Notation will be good for those inclined toward the opposite and for those, especially string music where players can extend in all sorts of harmonic directions and exploiting the small differences to good effect. The two musics will develop in contrary directions. It is rather unfortunate that those examples of notation that Wilso has from xenharmonikon 3 are outdated in his later thinking on the subject. This was done when Yasser was still having his influence. I was never comfortable with his additional letters. I have always like the Klavarskribo based notation but i found that many somehow get confused with the lines running horizonally. It does enable one not to have a symbol out to 12 places instead of 7 but when speaking new words make it difficult. This notation i have used for keyboard players that do not read music. Usually in less rhythmically based passages but i am opening up another can of worms. -- /^_,',',',_ //^ /Kraig Grady_ ^_,',',',_
Mesotonal Music from:
_'''''''_ ^North/Western Hemisphere: North American Embassy of Anaphoria Island <http://anaphoria.com/>

_'''''''_ ^South/Eastern Hemisphere:
Austronesian Outpost of Anaphoria <http://anaphoriasouth.blogspot.com/>

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