I've found that using numbers for the number of semitones between notes, 1, 2, and so is much more convenient than W, and H or S and T, and a lot easier for a computer to handle. You can also extend it to include all possible modes. [See file on modes on my website for the semitone sequences for normal 7, 6, and 5 note tunes and a few others].

It's only a step from there to my mode number which directly codes the scale of the tune, not the difference of it from the scoring mode. [Some tunes have been scored in as many as 4 different modes] File COMBCOD2.TXT now gives stressed note codes of 6232 tunes in 172 different modes or scales. The scales of these and common scoring notations for them are given in file CODEMATR.TXT