Tables

Please, find here tables with accidentals and note names for several tone systems (EDO and JI), which are supported by Ekmelily and partly by ekmelib. Note: Ekmelily versions prior to 3.0 support only 72-EDO. The tables are also available as ODS and CSV.

Accidentals

The accidentals are specified for each in Ekmelily predefined notation style. Some of them, in particular, combinations of several characters, are defined only for the sake of completeness.

Clicking on a symbol displays its SMuFL code point(s) and glyph name(s), and the symbol can be copied to the clipboard. The tables use the Ekmelos font.

Note names

The note names (pitch names), inclusive alias names, are specified for each in Ekmelily defined language. They are based on the names for semi- and quarter-tones in LilyPond.

Enharmonically equivalent degrees

In many notation styles like arrow, rhm, and sims, the one-quarter-tone and three-quarters-tone degrees have two distinct, enharmonically equivalent accidentals. Therefore, Ekmelily defines two note name suffixes each, e.g. qs and saqf (English) or ih and iseh (German). However, LilyPond does not support different accidentals for the same alteration. As a provisional solution, the combined note names (e.g. -saqf or -iseh) have slightly differing alterations and are therefore not suitable for the MIDI output.

Sources

  • SMuFL – Standard Music Font Layout. Version 1.4, (A specification for music symbols, introduced by Daniel Spreadbury and developed by the W3C Music Notation Community Group, www.smufl.org, github.com/w3c/smufl).
  • LilyPond – the GNU music typesetter. Version 2.22 (File "define-note-names.scm" Copyright (C) 2010--2020 Valentin Villenave et al., lilypond.org).
  • Rolf Maedel, Franz Richter Herf: Ekmelische Musik. In: Schriften der Hochschule Mozarteum. No. 4, Katzbichler, München/Salzburg , ISBN 3-87397-473-8.
  • Horst-Peter Hesse: Breaking into a New World of Sound: Reflections on the Ekmelic Music of the Austrian Composer Franz Richter Herf (1920-1989). In: Perspectives of New Music. Vol. 29, No. 1, .
  • George D. Secor, David C. Keenan: Sagittal – A Microtonal Notation System. , (sagittal.org).
  • Joe Monzo: Tonalsoft – Encyclopedia of Microtonal Music Theory. (www.tonalsoft.com/enc/h/hewm.aspx).
  • Suzette Mary Battan: Alois Hába's Neue Harmonielehre des diatonischen, chromatischen, Viertel-, Drittel-, Sechstel- und Zwölftel-Tonsystems. University of Rochester, Rochester, New York (Fig. 8. from Alois Hába: Harmonické základy čtvrttónové soustavy, 1922, Fig. 13. from Alois Hába: Neue Harmonielehre, 1925, pub. 1927).
  • Gardner Read: 20th-Century Microtonal Notation. p. 122 (from Brian Ferneyhough: Unity Capsule, 1975).
  • Kyle Gann: The Arithmetic of Listening: Tuning Theory and History for the Impractical Musician. p. 212 (EX. 13.9: Hába, notation for Suite for Violoncello.).
  • Jean-Michel Hufflen: History of accidentals in music. In: TUGboat. Vol. 38, No. 2, , p. 147 (tug.org/TUGboat/tb38-2/tb119hufflen-music.pdf).
  • Alain Bancquart, Carlos Agon, Moreno Andreatta: Microtonal Composition. pp. 279–302 (recherche.ircam.fr/equipes/repmus/moreno/AndreattaMicrotonality.pdf).
  • Marc Sabat, Wolfgang von Schweinitz: Extended Helmholtz-Ellis JI Pitch Notation (HEJI). (masa.plainsound.org/pdfs/legend.pdf).
  • M. Kemal Karaosmanoğlu: A Turkish Makam Music Symbolic Database For Music Information Retrieval: SymbTr. ISMIR (ifdo.ca/~seymour/runabc/makams/index.html).
  • Salah el-Mahdi: Al-Turath al-Musiqa al-Tunisiya. Vol. 8, .