notes between notes

[paradigm_shift]

Hi , What I would like to know is how notes are named if they are not of the 12 notes we use in western music .
Say its between c# and d. Right in the middle , would it be correct to call it C## or Dbb or both or neither? And similarly how would you name the note between said note and d for example? Db#?
This is mostly for my own knowledge, but i have been playing around with compositions that aren't with "fretted" instruments(for lack of a better term)

[Chad.mundt]

Dbb is enharmonically equivalent to C. C## (or properly, Cx) is enharmonically D. The proper way to notate microtones (intervals smaller than 1 semitone) is x cents above/below said note (example: 15 cents above Eb). A cent is one hundred of a semitone.

[PocketGroove82]

I'd try to learn some ragas if I were you. Ask some Indians!

[paradigm_shift]

so if I wanted the note between C# ands D to stick with the example, it would be c#x50
or c#50
or do i have to write "50 cents above c#
I'm thinking notation wise , if it frequently has notes that arent as per the norm that could be a lot of writing

[gurzil]

If you want to notate quarter tones (24 tone equal temperament) there are a bucket full of different notations composers have used. I am looking at _Music Notation_ by Read (pg 145 if you have it), but here is a web page with some examples, some in this book and some not.

http://www.dolmetsch.com/musicalsymbols.htm

(about half way down the page, find for "microtonal" and you are there)

[Aaron Saunders]

Could be a reason why a lot of microtonal music is probably an oral tradition rather than a literary one .

[paradigm_shift]

Originally Posted by Aaron Saunders

Could be a reason why a lot of microtonal music is probably an oral tradition rather than a literary one .

It would be good to have examples I could play with and learn from notated, no doubt there are many, there just not as common as i might like..

Its a shame really, I find you can vey subtley change the mood of a piece, especially creating tension and the like, with it. I think in part becuase our ears(those who have grown up listening to western music) arn't trained(or moreso acoustomed) to look out for or to hear them(sub conciously or conciously).It's really something I'm looking to play with a lot more.Thanks for the above link it was what I was looking to find.

[E.O.M.]

The problem with notating microtones arises from the fact that we're using a tonal language to try and notate microtonal ideas. However, as mentioned earlier, many composers have come up with their own ideas to make it easier on the performer.

One idea that I like a lot is the "triple" and "half" sharp symbols used by Lutoslawski and Xenakis. Here is an excerpt from "Theraps" by Xenakis for solo double bass, in which the "triple" and "half" sharps represent notes exactly in-between regular semitones, creating 1/4-tones.