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<TT>Richard,</TT><TT></TT>
<P><TT>19tet lends itself fairly to conventional notation and Harmony (theory
rather than impression) without paired enharmonic equivalents so flatted
notes are different from sharped, etc. Jack Peters built a little 19-tone,
one-octave spinet from the Zarlino print in Frank Hubbard's <U>3 Centuries
of Harpsichord Making</U>; unfortunately the instrument splits the raised
keys lengthwise. Step size in 19tet is about 63.2 cents (1200/19), making
the 3:2 (Fifth) approximate interval 694.7 cents vs. 1/3 syntonic comma
meantone's 694.8 cents.</TT><TT></TT>
<P><TT>I'd suggest going to the source and reading Paul Erlich's paper
for a description how 22tet doesn't exactly fit within the conventional
patterns, on Richard Brekne's page at <A HREF="http://home.c2i.net/ric/22ALL.pdf">http://home.c2i.net/ric/22ALL.pdf</A>
. The last page of the appendix illustrates a solution for staffs and key
signature notation.</TT><TT></TT>
<P><TT>I've seen a fairly broad range of notation, systematic and not;
a lot of it works.</TT><TT></TT>
<P><TT>Sorry, Bill, for the tummy-ache.</TT><TT></TT>
<P><TT>Clark</TT>
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