Nothing But the Blood Of Jesus (Pythagorean tuning)

Arrangement by Zachary Heller. Tuned in true intonation, Pythagorean just intonation. Written in Judgment Music Notation by Zachary Heller. Colors indicate letter note names and shape of the note heads indicate accidental state. Staff is a 12 position staff like unto the Dodeka notation staff, unlike the standard notation staff which has 12 positions. This allows notes to vertically ascend the staff while going up or down chromas. All while maintaining their letter associated color of the rainbow. Yellow triangle would be E# which would be one position higher than the Yellow square, E natural etc..
Red = C
Orange = D
Yellow = E
Green = F
Blue (Cyan) = G
Indigo (Blue) = A
Violet = B
Square = Natural
Circle = Flat
Triangle = Sharp
Pointy Bowtie = Double Sharp
There are other shapes for other compounds of sharps and flats unto quadruple sharp and flat that are not in this piece of music.
Reference pitch = A at 422.82 Hz, C = 250.56 Hz (Schuman Frequency)
This is an older version of the notation which still has hollow note heads for half and whole notes. I since have an altered way of conveying rhythm with ALL rhythm conveyed by a notes tail and all notes have tails. And subsequently all notes are colored in completely which eases writing and visibility as well.
Some of the notes have little "shadow brackets" either to their right or to their left. This is to indicate a syntonic comma up or down. This is because this piece was originally conceived in 5 limit just intonation. But you are hearing it in Pythagorean, or 3 limit just intonation.
This notation system was invented to make just intonation music in 3 and 5 limit easier to accurately, clearly, and intuitively convey all while getting rid of key signatures and accidental symbols. Every note clearly tells you what it is and in multiple ways.
Any question? Please ask in the comments. Cheers.

[@PaperPlateParody]

Sounds nice.
Do you prefer 3 limit to 5 limit?
Intriguing note notation. It is a bit difficult to follow along, but I'm sure that is due to not being familiar with it.
I had thought of using a similar color scheme for 12 TET using the color wheel:
Red = C
Orange = Db
Yellow = D
Chartreuse = Eb
Green = E
Spring Green = F
Cyan = Gb
Azure = G
Blue = Ab
Violet = A
Magenta = Bb
Rose = B
It was more of a thought experiment, not sure how practical it would be since certain colors have a greater contrast than others.

[@RememberGodHolyBible]

Yes, I and many others have thought of a twelve note color scheme. The problem is color contrast while tiny on the page AND also the fact that there are more than 12 notes. If you used one color for Bb, what about A#? The whole music system is based off of 7 and alterations of the 7. This may seem unintuitive, but as someone who has tried out many alternatives for over 10 years, I can say confidently there is good reason for it.
Having the 7 colors be the 7 colors of the rainbow allows the note letter names to be sequential. Most people know ROYGBIV and the order. It follows the intensity of light particles. There is something innate there in the sequence tying in with nature and it allows the brain to pick it up quicker.
With all that being said. Since coming across a teacher who independently discovered the same things about 3 and 5 limit JI, I at the moment do not use this system of notation anymore. I conceived of this notation for 5 limit JI, it is why I sought out a new notation system to begin with. Because in 5 limit you have multiple versions of every note that you have in 3 limit. You for example have Eb-, Eb, and Eb+, then D#-, D#, D#+, etc, all different pitches. Finding a clear and intuitive way to notate these differences is why I invented the system you see in this video. And it does work quite well. But for 3 limit it is a bit redundant for professional musicians, and it cannot be written as small as standard music notation. It would possibly be really good for children, but the more I learn, maybe not, standard in 3 limit may be even better. not sure 100% about that part.
However since learning from this teacher, who has been working with 3 and 5 limit longer than I have, I have come to realize that standard music notation not only works for 3 limit just intonation but was built on it and is really ideal in almost every way. nothing needing fixing. I only thought it needed fixing because i was so caught up in 5 limit for a decade.
5 limit, I get the appeal, I really do, I was a major advocate for 10 years for it. but it is not good. The appeal is the resonant buzzing of the major and minor thirds. But melodically it is not in tune, and it is not how our brain really hears intervals in music. 5 limit is also plagued with commas and wolf intervals, even within the 7 note diatonic scale. 3 limit is the true intonation, even for major and minor triads. The whole reason I shunned 3 limit for so long is because I believed the lie that people seem to repeat endlessly is that the Pythagorean major third at 81/64 is "too sharp" and is "out of tune". This is not true, even in chords 3 limit triads are the way.
What I didn't understand is that musical intervals cannot be judged in a vacuum , but rather within the context of a piece of music and timbre must be looked at as well. Different timbres can decieve how in tune something is especially if you are only listening vertically (harmonically) and horizontally (melodically). I would hear the buzzing of the 5/4 major third from 5 limit and think is must be the true way because of the buzzing, it was mesmerizing to me compared to 12 tet. But I did not realize that that 5/4 ratio is not for tuning notes of a scale to, but is there in the overtone series to give timbral distinction to individual pitches. The higher overtones as well, not for note tuning, but for timbre of an individual pitch's harmonic profile.
You can see if you look closely in the video, some of the notes have a little thin bracket on the right or left side of the note head, this is for the alternate 5 limit versions of certain notes, like i said i made this thinking of 5 limit, but when I put it into the Musescore the Lord would only let me adjust it to 3 and not 5 limit.
Now when I listen to 5 limit music, it sounds out of tune to me, because i am not hearing only vertically as I was before, but also horizontally, melodically. And even in chords I hear the major third as in tune at 81/64 and out of tune at 5/4. MANY MANY people have made this same error. Nearly all famous musicians and youtubers that talk of just intonation make this same error. They say 5 limit is the way which is incorrect.
One other major advantage of 3 limit, is the ability to create a functional, fun, playable, and reasonably sized acoustic keyboard instrument. I have 53 notes per octave in 3 limit in pure harmony and a near perfect "circle" of fifths. But in 5 limit I had over 160 notes per octave and because of various factors, there are very few ways to arrange them on a keyboard that works for the hands, and no design was ideal. And it did not loop as accurately or cleanly as it does in 3 limit.
You can even retune electronic keyboards to a 12 tone 3 limit scale and play a lot of music with it. I def recommend playing and learning and exploring music in 3 limit true intonation.