17 tone notation

There are many approaches to 17tone notation.  I have finally found one that works for me (shown to me by Cam Taylor).   I believe my extension to be the same as his.  And I believe this to be analogous or directly mappable to Kite’s up & downs notation.

Principles of this system include:

  • naming conventions remain consistent, tuning changes; the major second/third/sixth/seventh namings are mapped to the largest of the 3 interval types within each category — this means that “majors” are tuned sharp, “minors” are tuned flat, and “neutrals/middles” are tuned middle — perfect fifths may be tuned slightly sharp or just, depending on performer/composer preferences — I feel that a non-exact 17equal approach is preferable
  • the sharp # symbol means 2 steps up, the flat b symbol means 2 steps down, the quarter sharp half sharp (or +) symbol means 1 step up, the quarter flat d symbol means 1 step down.

Chromatically we have:

1

C

2

C+ / Db

3

Dd / C#

4

D

5

D+ / Eb

6

Ed / D#

7

E / Fd

8

F / E+

9

F+ / Gb

10

Gd / F#

11

G

12

G+ / Ab

13

Ad / G#

14

A

15

A+ / Bb

16

Bd / A#

17

B

Some sample “major scales”

1

C C+ / Db D D+ / Eb

4

D D+ / Eb E E+ / F

7

E E+ / F F# F#+ / G

8

F F+ / Gb G G+ / Ab

11

G G+ / Ab A A+ / Bb

14

A A+ / Bb B B+ / C

17

B B+ / C C# C#+ / D

Sample modes of “neutral”, “dicot”, “suhajira”, or “beatles” ([7]s)

1

C D Eb G+

3

Dd Ed Fd A

6

Ed F+ Gd B

8

F G Ab C+

11

G A Bb D+

13

Ad Bd Cd E

16

Bd C+ Dd F#

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