Re: Microtonal Helmholtz-Ellis notation in Lilypond: fine-tuning

[Hans Aberg]

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