Setting up Wilsonic based pitch tables in Dorico

A Quick Sketch in Pure Sagittal

Sketch Amended.dorico (2.3 MB)

Leaning into a wrong idea. Will post more if it gets interesting. For more on Cistercian Numbering, This is an interesting place to play.

A great way to encode 10,000 compactly. But the analogy to pitch seems not good. This is what Sagittal is all about – indicating musically relevant microtones in compact, representational symbols.

Also Sagittal is designed to be clear on the staff and in chords. The glyphs in the above font are of course too thin, but even if thicker, the square bits fight with the staff lines.

Hello Mark. I do not disagree. The thought process here is just taking a look at historical representations of successive numerical values and exploring potential similarity’s as it might apply to movement and shape. I am curious as to how unified concepts evolve and are represented.Mayan Numbers, Egyptian hieratic numerals perhaps. I found the Cistercian Numbering rather fascinating.

The Cistercian lines are ridiculously thin as noted. That is my attempt at converting from bitmap to SVG, then importing into Dorico. I am sure there is a better way to engrave ones own musical fonts. Could you recommend such software? I presume when one imports graphically there is not a way for it to show in white in the accidentals tab?

To your Sagittal point, I do see the depth and completeness of the system, as well as how it distinguishes itself to the staff.

I would like to pose a question. I arrived at different Nominals for the Hexagonal 37. I will list them here.

A 204 B
B 71 C
C 182 D
D 245 E
E 93 F
F 182 G
G 223 A

The scale sounds as such when one defines the Nominals to these values.

Do you see any issues with the way I arranged the Nominals as a starting point before pitch deltas? Thanks for taking a look. I am enjoying the dialogue.

Sure, you can define the nominals any way you want. I can imagine you might want certain pitches to “look like” certain notes. But of course if it’s for human players you have to inform them what the white notes mean. I think it is quite disorienting for people to have 4 different sized intervals for whole steps. In Johnston there are 2; in Sagittal they’re all the same. I’m more interested in how to renotate things in different established systems, not in inventing more new ones.

My intention is to expand the sketch in Pure Sagittal. I will upload amendments as ideas ripen a bit. I will say I am enjoying how Dorico breathes life into the phrases via the text performance notes. Typically the way I think about it is beat mapping and articulation key switching. I am finding Dorico to be quite elegant in that way. I need to dig a bit deeper in understanding how to define subdivisions, but am enjoying the experience.

The Egg-

This excerpt uses various Layered Microtonal Systems That I discovered in Wilsonic. I find it to have a somewhat familiar feeling of Twelve Tone while evoking many other emotional colors. I will endeavor to notate this as I have acquired the skills to do so. One of my larger goals is to write Microtonal Orchestrated work outside of Mock ups. The piece was performed on a LinnStrument. I find the Isomorphic Keyboard of this instrument, as well at the tactile element perfect for this type of composition. As this thread concerns itself with setting up Wilsonic based pitch systems, I wanted to demonstrate what it actually sounds like.





ContraBass Tuba

Violins, Viola, Cello

Double Bass


Tuned Percussion


Assorted Metal Percussion

High Drums


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Hi Mark, I was studying your application of the hexagonal 37 and had a question for you. It appears observationally that before the natural notes of C,D,E,F, and G flats occur. Conversely after these notes sharps as one would presume. The A note has the flat to sharp transition occurring between the pao -215/12000 divisions and bo pai 196/12000 divisions. No A natural occurring note.The B note transitioning between the pao -215/12000 divisions and bo pai 196/120000. also no natural note indicated in B. I just wanted to understand what informed your choices as far as how you arranged the sharps and flats in this way in relation to the Nominals. Was it the math, or were there principles that you were using as guidelines? Thanks.

The reason for no A♮ or B♮ (or E♮!) is the combination of the star shape with Sagittal. As I noted above when I first plotted the star, it includes only two 5ths up & down from the tonic (and 3 up & down from the tonic ♯ and ♭). In Johnston those higher 5ths are written with +; in Sagittal they are 3 of the 7 nominals. So the choice to omit 27:16 and 81:64 and 243:128 was by the scale designer. I only chose the notation systems.

Thanks, Mark.

For anyone following this thread, I found a resource that I thought would be helpful to pass on. It’s a very good introduction to sagittal notation.

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Marcus (creator of Wilsonic) was kind enough to create a sub channel on the Wilsonic Discord as it relates to notation as applied to the systems created with Wilsonic. Feel free to join the conversation.