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
(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# |
Noah Dean Jordan 