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Intonation notation? Agnus Dei (SAB) a cappella

I have a quandry on how to best notate intonation for new music.  
Choices are:  A) pitch symbols  B) pitch bars or C) no special notation. 
Heavy down arrow, tuned thirds, sixths, and often second when tuned to the fourth.   Little arrows, perfect fifth relations to tonic.  Double arrow, two-comma low tuned third to secondary dominant.
Self explanatory, I hope: size of bars proportional to how different from equal temperament.
C) no indications, full score
And a recording with the intonation implemented at
Ideas?  Thanks.  
William Copper
on September 22, 2013 3:49pm
Because the above-the-staff indications are so far from the notes anyway, I would be inclined, if it seems practicable, to put an extensive discussion of "why and how" into a preface, and then use no indications. I believe anything that's in the score should be sight-readable (with instruction beforehand as necessary), and if it isn't sight-readable then maybe it belongs elsewhere. If I'm looking down for words and up for intonation signs and in the middle for notes, I'll be lost.
If they are the only two choices, I like the arrows better than the bars because they're more informative. However, something directly beside the notes (where accidentals normally go) would be much easier to read I think. Are you quite sure there are no already-existing notations for these? (I've seen indications for "a quarter flat", "half flat" etc that are just variations on the regular "flat" symbol. While they aren't as specific as your indications, they do sit beside the notes in the expected position, and are therefore vastly more readable.
What about some system that includes drawing some kind of bracket, joining a note to the other note it's to be tuned with?
Perhaps a few actual choir rehearsals with each version would tell you what you need to know, in terms of what's easier for the singers to use and gets the best results.
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