Heptatonic notation: Difference between revisions

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=Purpose and Principles=

== Purpose and Principles ==

I developed heptatonic notation in order to notate my microtonal music, which is written in a number of different [[EDO|edos]]. Some principles were followed in the development this notation system:

I{{who}} developed '''heptatonic notation''' in order to notate my microtonal music, which is written in a number of different [[EDO|edos]]. Some principles were followed in the development this [[notation]] system:

<ul><li>It should be nearly consistent with standard modern music notation.</li><li>It should be consistent between different edos.</li><li>It should be as non-arbitrary as possible.</li></ul>

From these principles I decided that it should be based on [[Nominal-Accidental_Chains|nominal-accidental chains]], with seven nominals to an octave. In addition, accidentals should both be based on those of standard notation and give an approximation of their displacement size. From these principles is derived the fundamental rule behind this notation system:

From these principles I decided that it should be based on [[Nominal-Accidental_Chains|nominal-accidental chains]], with seven nominals to an [[octave]]. In addition, accidentals should both be based on those of standard notation and give an approximation of their displacement size. From these principles is derived the fundamental rule behind this notation system:

<ul><li>For each edo, nominals are assigned to the first mode of the [[Maximal_evenness|maximally even]] heptatonic [[MOSScales|MOS]].</li></ul>

=Nominals=

==Nominals==

By finding these particular MOS scales in each edo, we can find that they, and thus that edo's nominals, follow a number of patterns:

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These periodic patterns occur because the sum of step sizes must equal the edo's order, and for any (L, s) MOS there is only one scale-step pattern.

=Accidentals=

== Accidentals ==

For edos 7(n-1)+1 to 7n, the large step is n edo-intervals, so n-1 unique accidentals of each flat/sharp are required, plus a natural accidental. This ensures that the maximum or minimum accidentals always modify a nominal to a neighboring nominal, as in the double-flats and double-sharps of standard notation. I chose the following twenty-five accidentals to be usable with the [http://www.ekmelic-music.org/en/extra/ekmelily.htm Ekmelily] extension to [http://lilypond.org/ Lilypond], which I use to notate my music:

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(To be continued. Feedback welcome, as I'm sure there are ways to make it better!)

=Scores and score-videos=

==Scores and score-videos==

[https://www.youtube.com/watch?v=jagxI__W-Mg Palinkalin Viharo (Flowers in the Mist)] by Jake Huryn ([https://drive.google.com/file/d/0BwJHTddN0-rdUFdwMEtfYnFJZ0E/view Score]): 22edo

[[Category:notation]]

@@ Line 1: / Line 1: @@
-=Purpose and Principles=
+== Purpose and Principles ==
-I developed heptatonic notation in order to notate my microtonal music, which is written in a number of different [[EDO|edos]]. Some principles were followed in the development this notation system:
+I{{who}} developed '''heptatonic notation''' in order to notate my microtonal music, which is written in a number of different [[EDO|edos]]. Some principles were followed in the development this [[notation]] system:
 <ul><li>It should be nearly consistent with standard modern music notation.</li><li>It should be consistent between different edos.</li><li>It should be as non-arbitrary as possible.</li></ul>
-From these principles I decided that it should be based on [[Nominal-Accidental_Chains|nominal-accidental chains]], with seven nominals to an octave. In addition, accidentals should both be based on those of standard notation and give an approximation of their displacement size. From these principles is derived the fundamental rule behind this notation system:
+From these principles I decided that it should be based on [[Nominal-Accidental_Chains|nominal-accidental chains]], with seven nominals to an [[octave]]. In addition, accidentals should both be based on those of standard notation and give an approximation of their displacement size. From these principles is derived the fundamental rule behind this notation system:
 <ul><li>For each edo, nominals are assigned to the first mode of the [[Maximal_evenness|maximally even]] heptatonic [[MOSScales|MOS]].</li></ul>
-=Nominals=
+==Nominals==
 By finding these particular MOS scales in each edo, we can find that they, and thus that edo's nominals, follow a number of patterns:
@@ Line 15: / Line 15: @@
 These periodic patterns occur because the sum of step sizes must equal the edo's order, and for any (L, s) MOS there is only one scale-step pattern.
-=Accidentals=
+== Accidentals ==
 For edos 7(n-1)+1 to 7n, the large step is n edo-intervals, so n-1 unique accidentals of each flat/sharp are required, plus a natural accidental. This ensures that the maximum or minimum accidentals always modify a nominal to a neighboring nominal, as in the double-flats and double-sharps of standard notation. I chose the following twenty-five accidentals to be usable with the [http://www.ekmelic-music.org/en/extra/ekmelily.htm Ekmelily] extension to [http://lilypond.org/ Lilypond], which I use to notate my music:
@@ Line 32: / Line 32: @@
 (To be continued. Feedback welcome, as I'm sure there are ways to make it better!)
-=Scores and score-videos=
+==Scores and score-videos==
 [https://www.youtube.com/watch?v=jagxI__W-Mg Palinkalin Viharo (Flowers in the Mist)] by Jake Huryn ([https://drive.google.com/file/d/0BwJHTddN0-rdUFdwMEtfYnFJZ0E/view Score]): 22edo
+{{Navbox notation}}
 [[Category:notation]]