Xenwolf

::::: Oh yes, regarding [[:File:Possible Quartertone Accidentals.png|the 12 sign symbols you suggested]], I was really close to starting the detail work, but then realized that we have to consider the graphical context. After all, these symbols will be on and between staves, and yet you have to be able to recognize them and distinguish them safely. So this will also make a bit more work. Maybe I'll try a first rough draft showing the 12 symbols in 2 positions each. --[[User:Xenwolf|Xenwolf]] ([[User talk:Xenwolf|talk]]) 19:31, 15 October 2020 (UTC)

:: All I know in this case is that if the 3-limit is used to assign pitch relations between the standard notes, and you want to have a standard for assigning pitch relations for keys like G-Demisharp Major, which Jacob Collier uses in his rendition of "In the Bleak Midwinter", we need some sort of relatively simple limit by which we can build off of the 3-limit in order to access such keys.  Furthermore, we need to ensure maximal separation from the standard keys in a case like this.  It may be true that when the rastma isn't tempered out, there's multiple possibilities, but given what I demonstrated on constructing a 9/8 whole tone using just four 11-limit intervals in my recent response to Kite's recent comments on [[Talk:159edo_notation#My_Second_Idea_for_a_Notation System|the talk page for 159edo notation]], I can't help but think that 33/32 is bound to be perhaps the most important among quartertones, especially in light of the one example of a stack of three 33/32 parachromatic quartertones plus a [[4096/3993]] paradiatonic quartertone adding up to a full 9/8 whole tone- you can't get much more straightforward in adding up quartertones than that. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 18:19, 15 October 2020 (UTC)