On 10 Sep 2009, at 12:14, Torsten Anders wrote:
[...] I tend to think that ETs and Pythagorean tuning, quarter-
comma meantone, and other diatonic pitch systems would be best
notated by departing from them, and then adding intermediate pitch
accidentals relative that.
A completely different notation approach might be more economic from
a pure notation point of view (many have been proposed), but
musicians including myself just had a life-long training in the
existing notation. So, for those an extended form of the existing
notation is more appealing than something that starts form scratch.
Perhaps you misunderstood: I do the same thing as you, only as in
standard Western notation, not tying it to a particular tuning, at
least not from the general point of view.
Strictly speaking, it depends on which music instrument you have.
Mine is a 2-dimensional keyboard.
If your notation depends on your instrument then you devised
actually a tabulature. They have their purposes of course, but being
instrument specific they have their restrictions too. BTW: I can
actually play HE notation on a Tonal Plexus (http://www.h-pi.com/TPX28intro.html
), slowly, but I never practise :)
Is it touch (velocity) sensitive?
I use the layout:
C# D# E#
C D E F# G# A# B#
Cb Db Eb F G A B
Fb Gb Ab Bb C'
Then the playing and fingering patterns are the same in different
keys. Transposition is by translation. (Contact me in private mail if
you want to try it.)
But I do not know a good way to extend it to intermediate pitches.
Hans
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