Nominal-accidental chain - Revision history

FloraC: /* Inflections and alterations */ oopsie

2025-07-19T11:31:53Z

Inflections and alterations: oopsie

← Older revision		Revision as of 11:31, 19 July 2025
Line 31:		Line 31:
	\|-		\|-
	\| ♯		\| ♯
	\| ~~♭~~		\| ♭
	\| ^		\| ^
	\| v		\| v

FloraC: /* Inflections and alterations */ style

2025-07-19T11:31:30Z

Inflections and alterations: style

← Older revision		Revision as of 11:31, 19 July 2025
Line 17:		Line 17:

	Examples:		Examples:
	{\| class="wikitable"		{\| class="wikitable center-all"
	\|+ style="font-size: 105%" \| ~~EDO~~ alterations		\|+ style="font-size: 105%" \| Edo alterations
	\|-		\|-
	! colspan="2" rowspan="2" \| Accidentals		! colspan="2" rowspan="2" \| Accidentals
Line 30:		Line 30:
	\| Down		\| Down
	\|-		\|-
	\| ~~♯~~		\| ♯
	\| ♭		\| ♭
	\| ^		\| ^
Line 36:		Line 36:
	\|}		\|}

	{\| class="wikitable"		{\| class="wikitable center-all"
	\|+ style="font-size: 105%" \| [[Pergen]] alterations		\|+ style="font-size: 105%" \| [[Pergen]] alterations
	\|-		\|-
Line 52:		Line 52:
	\| Drop		\| Drop
	\|-		\|-
	\| ~~♯~~		\| ♯
	\| ~~♭~~		\| ♭
	\| ^		\| ^
	\| v		\| v
Line 60:		Line 60:
	\|}		\|}

	{\| class="wikitable"		{\| class="wikitable center-all"
	\|+ style="font-size: 105%" \| Just intonation alterations		\|+ style="font-size: 105%" \| Just intonation alterations
	\|-		\|-
Line 71:		Line 71:
	! colspan="2" \| Prime 11		! colspan="2" \| Prime 11
	\|-		\|-
	! rowspan="2" \| ~~color~~ notation		! rowspan="2" \| Color notation
	\| Sharp		\| Sharp
	\| Flat		\| Flat
Line 81:		Line 81:
	\| Lu		\| Lu
	\|-		\|-
	\| ~~♯~~		\| ♯
	\| ~~♭~~		\| ♭
	\| y		\| y
	\| g		\| g
Line 91:		Line 91:
	\|-		\|-
	! FJS notation		! FJS notation
	\| ~~♯~~		\| ♯
	\| ~~♭~~		\| ♭
	\| 5		\| 5
	\| /5		\| /5
Line 101:		Line 101:
	\|-		\|-
	! Prime-factor Sagittal		! Prime-factor Sagittal
	\| ~~♯~~		\| ♯
	\| ~~♭~~		\| ♭
	\| \!		\| \!
	\| <nowiki>/\|</nowiki>		\| <nowiki>/\|</nowiki>
Line 111:		Line 111:
	\|}		\|}

	Each JI inflection inflects by a certain [[~~Formal~~ comma\|comma]].		Each JI inflection inflects by a certain [[formal comma\|comma]].

	These usages of the terms accidental, inflection and alteration were coined by [[Kite Giedraitis]].		These usages of the terms accidental, inflection and alteration were coined by [[Kite Giedraitis]].

TallKite: /* Inflections and alterations */ completed the sagittal table

2025-07-18T20:23:26Z

Inflections and alterations: completed the sagittal table

← Older revision		Revision as of 20:23, 18 July 2025
Line 103:		Line 103:
	\| ♯		\| ♯
	\| ♭		\| ♭
	\|		\| \!
	\|		\| <nowiki>/\|</nowiki>
	\|		\| !)
	\|		\| <nowiki>\|)</nowiki>
	\|		\| <nowiki>/\|\</nowiki>
	\|		\| \!/
	\|}		\|}

			Each JI inflection inflects by a certain [[Formal comma\|comma]].

	These usages of the terms accidental, inflection and alteration were coined by [[Kite Giedraitis]].		These usages of the terms accidental, inflection and alteration were coined by [[Kite Giedraitis]].

	~~{{todo\|inline=1\|complete table\|comment=Complete the Sagittal entries.}}~~

	== Specific notation schemes ==		== Specific notation schemes ==

ArrowHead294 at 14:21, 17 July 2025

2025-07-17T14:21:47Z

← Older revision		Revision as of 14:21, 17 July 2025
Line 18:		Line 18:
	Examples:		Examples:
	{\| class="wikitable"		{\| class="wikitable"
	\|+~~EDO alterations~~		\|+ style="font-size: 105%" \| EDO alterations
	~~! colspan="2" rowspan~~="2" \|~~Accidentals~~
	~~! colspan="2" \|Inflections~~
	\|-		\|-
	! colspan="2" \|~~Arrows~~		! colspan="2" rowspan="2" \| Accidentals
			! colspan="2" \| Inflections
	\|-		\|-
	\|~~Sharp~~		! colspan="2" \| Arrows
	~~\|Flat~~
	~~\|Up~~
	~~\|Down~~
	\|-		\|-
	\|♯		\| Sharp
	\|♭		\| Flat
	\|^		\| Up
	\|v		\| Down
			\|-
			\| ♯
			\| ♭
			\| ^
			\| v
	\|}		\|}

	{\| class="wikitable"		{\| class="wikitable"
	\|+[[Pergen]] alterations		\|+ style="font-size: 105%" \| [[Pergen]] alterations
	~~! colspan="2" rowspan="2" \|Accidentals~~
	~~! colspan="4" \|Inflections~~
	\|-		\|-
	! colspan="2" \|~~Arrows~~		! colspan="2" rowspan="2" \| Accidentals
	! colspan="2" \|~~Slashes~~		! colspan="4" \| Inflections
	\|-		\|-
	\|~~Sharp~~		! colspan="2" \| Arrows
	\|~~Flat~~		! colspan="2" \| Slashes
	~~\|Up~~
	~~\|Down~~
	~~\|Lift~~
	~~\|Drop~~
	\|-		\|-
	\|♯		\| Sharp
	\|♭		\| Flat
	\|^		\| Up
	\|v		\| Down
	\|/		\| Lift
	\|\		\| Drop
			\|-
			\| ♯
			\| ♭
			\| ^
			\| v
			\| /
			\| \
	\|}		\|}

	{\| class="wikitable"		{\| class="wikitable"
	\|+Just intonation alterations		\|+ style="font-size: 105%" \| Just intonation alterations
	! rowspan="2" \|		\|-
	! colspan="2" rowspan="2" \|Accidentals		! rowspan="2" \|
	! colspan="6" \|Inflections		! colspan="2" rowspan="2" \| Accidentals
			! colspan="6" \| Inflections
	\|-		\|-
	! colspan="2" \|Prime 5		! colspan="2" \| Prime 5
	! colspan="2" \|Prime 7		! colspan="2" \| Prime 7
	! colspan="2" \|Prime 11		! colspan="2" \| Prime 11
	\|-		\|-
	! rowspan="2" \|color notation		! rowspan="2" \| color notation
	\|Sharp		\| Sharp
	\|Flat		\| Flat
	\|Yo		\| Yo
	\|Gu		\| Gu
	\|Zo		\| Zo
	\|Ru		\| Ru
	\|iLo		\| iLo
	\|Lu		\| Lu
	\|-		\|-
	\|♯		\| ♯
	\|♭		\| ♭
	\|y		\| y
	\|g		\| g
	\|z		\| z
	\|r		\| r
	\|1o		\| 1o
	\|1u		\| 1u
	\|-		\|-
	!FJS notation		! FJS notation
	\|♯		\| ♯
	\|♭		\| ♭
	\|5		\| 5
	\|/5		\| /5
	\|7		\| 7
	\|/7		\| /7
	\|11		\| 11
	\|/11		\| /11
	\|-		\|-
	!Prime-factor Sagittal		! Prime-factor Sagittal
	\|♯		\| ♯
	\|♭		\| ♭
	\|		\|
	\|		\|
	\|		\|
	\|		\|
	\|		\|
	\|		\|
	\|}		\|}

	These usages of the terms accidental, inflection and alteration were coined by [[Kite Giedraitis]].		These usages of the terms accidental, inflection and alteration were coined by [[Kite Giedraitis]].

Fredg999: Rephrase some bits according to notability guidelines (avoid making stuff sound established when it isn't), misc. edits

2025-07-17T03:55:20Z

Rephrase some bits according to notability guidelines (avoid making stuff sound established when it isn't), misc. edits

← Older revision		Revision as of 03:55, 17 July 2025
Line 14:		Line 14:

	== Inflections and alterations ==		== Inflections and alterations ==
	An '''~~inflection~~''' ~~is a microtonal accidental~~. Using this term allows the term '''accidental''' to refer exclusively to sharps, flats and naturals. Accidentals and inflections ~~are~~ referred to collectively as '''alterations'''. This terminology ~~greatly~~ facilitates discussions of microtonal scores.		Microtonal accidentals are sometimes referred to as '''inflections'''. Using this term allows the term ''accidental'' to refer exclusively to sharps, flats and naturals. Accidentals and inflections may then be referred to collectively as '''alterations'''. This terminology facilitates discussions of microtonal scores, especially in rank-1 and rank-2 systems.

	Examples:		Examples:
Line 107:		Line 107:
	These usages of the terms accidental, inflection and alteration were coined by [[Kite Giedraitis]].		These usages of the terms accidental, inflection and alteration were coined by [[Kite Giedraitis]].

			{{todo\|inline=1\|complete table\|comment=Complete the Sagittal entries.}}
	~~TO DO:~~ complete the Sagittal entries

	== Specific notation schemes ==		== Specific notation schemes ==

Fredg999: Merge from Inflections and alterations (originally by TallKite)

2025-07-17T03:51:17Z

Merge from Inflections and alterations (originally by TallKite)

← Older revision		Revision as of 03:51, 17 July 2025
Line 12:		Line 12:

	[[Enharmonic equivalence]] may arise from this approach, which is when the same pitch can have multiple names. People are often taught that C♯ is enharmonically equivalent to D♭ but this is only true in [[12edo]] and its multiples (24edo, 36edo, etc). The same term is sometimes used to refer to equivalence in general, but each edo technically has its own equivalence. [[7edo]] has the type of equivalence that could be called ''chromatic equivalence'', for example, since in 7edo the fact that stacking seven fifths takes one back to the root note means that sharps and flats are redundant.		[[Enharmonic equivalence]] may arise from this approach, which is when the same pitch can have multiple names. People are often taught that C♯ is enharmonically equivalent to D♭ but this is only true in [[12edo]] and its multiples (24edo, 36edo, etc). The same term is sometimes used to refer to equivalence in general, but each edo technically has its own equivalence. [[7edo]] has the type of equivalence that could be called ''chromatic equivalence'', for example, since in 7edo the fact that stacking seven fifths takes one back to the root note means that sharps and flats are redundant.

			== Inflections and alterations ==
			An '''inflection''' is a microtonal accidental. Using this term allows the term '''accidental''' to refer exclusively to sharps, flats and naturals. Accidentals and inflections are referred to collectively as '''alterations'''. This terminology greatly facilitates discussions of microtonal scores.

			Examples:
			{\| class="wikitable"
			\|+EDO alterations
			! colspan="2" rowspan="2" \|Accidentals
			! colspan="2" \|Inflections
			\|-
			! colspan="2" \|Arrows
			\|-
			\|Sharp
			\|Flat
			\|Up
			\|Down
			\|-
			\|♯
			\|♭
			\|^
			\|v
			\|}
			{\| class="wikitable"
			\|+[[Pergen]] alterations
			! colspan="2" rowspan="2" \|Accidentals
			! colspan="4" \|Inflections
			\|-
			! colspan="2" \|Arrows
			! colspan="2" \|Slashes
			\|-
			\|Sharp
			\|Flat
			\|Up
			\|Down
			\|Lift
			\|Drop
			\|-
			\|♯
			\|♭
			\|^
			\|v
			\|/
			\|\
			\|}
			{\| class="wikitable"
			\|+Just intonation alterations
			! rowspan="2" \|
			! colspan="2" rowspan="2" \|Accidentals
			! colspan="6" \|Inflections
			\|-
			! colspan="2" \|Prime 5
			! colspan="2" \|Prime 7
			! colspan="2" \|Prime 11
			\|-
			! rowspan="2" \|color notation
			\|Sharp
			\|Flat
			\|Yo
			\|Gu
			\|Zo
			\|Ru
			\|iLo
			\|Lu
			\|-
			\|♯
			\|♭
			\|y
			\|g
			\|z
			\|r
			\|1o
			\|1u
			\|-
			!FJS notation
			\|♯
			\|♭
			\|5
			\|/5
			\|7
			\|/7
			\|11
			\|/11
			\|-
			!Prime-factor Sagittal
			\|♯
			\|♭
			\|
			\|
			\|
			\|
			\|
			\|
			\|}
			These usages of the terms accidental, inflection and alteration were coined by [[Kite Giedraitis]].


			TO DO: complete the Sagittal entries

	== Specific notation schemes ==		== Specific notation schemes ==

ArrowHead294 at 13:38, 31 December 2024

2024-12-31T13:38:46Z

← Older revision		Revision as of 13:38, 31 December 2024
Line 11:		Line 11:
	These pitches form a chain, with each one separated from the next by a specific interval. This interval can be said to generate the notation, or the notation can be said to be based on this interval. In diatonic circle-of-fifths notation, this interval has been a just or near-just 3/2. Other intervals are possible, and even desirable for certain edos like 13, 18, and 23.		These pitches form a chain, with each one separated from the next by a specific interval. This interval can be said to generate the notation, or the notation can be said to be based on this interval. In diatonic circle-of-fifths notation, this interval has been a just or near-just 3/2. Other intervals are possible, and even desirable for certain edos like 13, 18, and 23.

	[[Enharmonic equivalence]] may arise from this approach, which is when the same pitch can have multiple names. People are often taught that C♯ is enharmonically equivalent to D♭ but this is only true in [[12edo]] and its multiples (24edo, 36edo, etc.). The same term is sometimes used to refer to equivalence in general, but each edo technically has its own equivalence. [[7edo]] has the type of equivalence that could be called ''chromatic equivalence'', for example.		[[Enharmonic equivalence]] may arise from this approach, which is when the same pitch can have multiple names. People are often taught that C♯ is enharmonically equivalent to D♭ but this is only true in [[12edo]] and its multiples (24edo, 36edo, etc). The same term is sometimes used to refer to equivalence in general, but each edo technically has its own equivalence. [[7edo]] has the type of equivalence that could be called ''chromatic equivalence'', for example, since in 7edo the fact that stacking seven fifths takes one back to the root note means that sharps and flats are redundant.

	== Specific notation schemes ==		== Specific notation schemes ==
Line 21:		Line 21:

	; Nondiatonic		; Nondiatonic
	* [[4L 5s (3/1-equivalent)#Notation\|Bohlen–Pierce notation]] ~~(based on the ''Lambda'' scale)~~		* [[4L 5s (3/1-equivalent)#Notation\|Bohlen–Pierce "Lambda" notation]]
	* [[Armodue]] number notation (based on the [[superdiatonic]] scale)		* [[Armodue]] number notation (based on the [[superdiatonic]] scale)
	* [[Fox–Raven notation]] (based on the [[oneirotonic]] scale)		* [[Fox–Raven notation]] (based on the [[oneirotonic]] scale)
Line 28:		Line 28:

	; Unsorted		; Unsorted
	* [[Erv Wilson]]'s ~~greek~~ letters <!-- what's this? -->		* [[Erv Wilson]]'s Greek letters <!-- what's this? -->
	* [[Aaron Hunt]]'s system		* [[Aaron Hunt]]'s system

Fredg999: Update link for enharmonic equivalence, add reference for albitonic

2024-12-24T15:19:43Z

Update link for enharmonic equivalence, add reference for albitonic

← Older revision		Revision as of 15:19, 24 December 2024
Line 11:		Line 11:
	These pitches form a chain, with each one separated from the next by a specific interval. This interval can be said to generate the notation, or the notation can be said to be based on this interval. In diatonic circle-of-fifths notation, this interval has been a just or near-just 3/2. Other intervals are possible, and even desirable for certain edos like 13, 18, and 23.		These pitches form a chain, with each one separated from the next by a specific interval. This interval can be said to generate the notation, or the notation can be said to be based on this interval. In diatonic circle-of-fifths notation, this interval has been a just or near-just 3/2. Other intervals are possible, and even desirable for certain edos like 13, 18, and 23.

	~~{{Wikipedia\|~~ Enharmonic equivalence }}		[[Enharmonic equivalence]] may arise from this approach, which is when the same pitch can have multiple names. People are often taught that C♯ is enharmonically equivalent to D♭ but this is only true in [[12edo]] and its multiples (24edo, 36edo, etc.). The same term is sometimes used to refer to equivalence in general, but each edo technically has its own equivalence. [[7edo]] has the type of equivalence that could be called ''chromatic equivalence'', for example.

	~~'''Equivalence'''~~ may arise from this approach, which is when the same pitch can have multiple names. People are often taught that C♯ is enharmonically equivalent to D♭ but this is only true in [[12edo]] and its multiples (24edo, 36edo, etc.). The same term is sometimes used to refer to equivalence in general, but each edo technically has its own equivalence. [[7edo]] has the type of equivalence that could be called ''chromatic equivalence'', for example.

	== Specific notation schemes ==		== Specific notation schemes ==
Line 36:		Line 34:
	{{Todo\| update \|inline=1\|comment=Find materials for these topics.}}		{{Todo\| update \|inline=1\|comment=Find materials for these topics.}}

	* The term "albitonic"		* The term "albitonic" (see [[Chromatic pairs]])
	* [[Mark Gould]]'s connection of accidentals to [[bi-level MOS]]		* [[Mark Gould]]'s connection of accidentals to [[bi-level MOS]]

	~~== See also ==~~
	* [[Enharmonic]] (disambiguation page)

	[[Category:Notation]]		[[Category:Notation]]

ArrowHead294 at 15:17, 23 December 2024

2024-12-23T15:17:22Z

← Older revision		Revision as of 15:17, 23 December 2024
Line 23:		Line 23:

	; Nondiatonic		; Nondiatonic
	* [[4L 5s (3/1-equivalent)#Notation\|Bohlen–Pierce notation]] (based on the ~~[[lambda]]~~ scale)		* [[4L 5s (3/1-equivalent)#Notation\|Bohlen–Pierce notation]] (based on the ''Lambda'' scale)
	* [[Armodue]] number notation (based on the [[superdiatonic]] scale)		* [[Armodue]] number notation (based on the [[superdiatonic]] scale)
	* [[Fox-Raven notation]] (based on the [[oneirotonic]] scale)		* [[Fox–Raven notation]] (based on the [[oneirotonic]] scale)
	* [[Arcturus hendecatonic notation]] (based on the [[Arcturus]][11] scale)		* [[Arcturus hendecatonic notation]] (based on the [[Arcturus]][11] scale)
	* [[Diamond-mos notation]]		* [[Diamond-mos notation]]

ArrowHead294 at 15:14, 23 December 2024

2024-12-23T15:14:40Z

← Older revision		Revision as of 15:14, 23 December 2024
Line 9:		Line 9:
	'''Accidentals''' are additional pitches that arise as modifications of the nominals. Unmodified pitches are natural notes. In diatonic [[circle-of-fifths notation]], the additional pitches are denoted by adding '''sharps''' or '''flats''' to the natural notes. The sharp accidental denotes a pitch raise by a [[chromatic semitone]], equivalent to a raise by 7 fifths minus 4 octaves. Conversely, the flat accidental denotes a pitch drop by the same amount. In [[equal temperament]]s, the number of steps this interval is mapped to is called the [[sharpness]].		'''Accidentals''' are additional pitches that arise as modifications of the nominals. Unmodified pitches are natural notes. In diatonic [[circle-of-fifths notation]], the additional pitches are denoted by adding '''sharps''' or '''flats''' to the natural notes. The sharp accidental denotes a pitch raise by a [[chromatic semitone]], equivalent to a raise by 7 fifths minus 4 octaves. Conversely, the flat accidental denotes a pitch drop by the same amount. In [[equal temperament]]s, the number of steps this interval is mapped to is called the [[sharpness]].

	These pitches form a chain, with each one separated from the next by a specific interval. This interval can be said to generate the notation, or the notation can be said to be based on this interval. In diatonic circle-of-fifths notation, this interval has been a just or near-just 3/2. Other intervals are possible, and even desirable for certain edos like 13, 18 and 23.		These pitches form a chain, with each one separated from the next by a specific interval. This interval can be said to generate the notation, or the notation can be said to be based on this interval. In diatonic circle-of-fifths notation, this interval has been a just or near-just 3/2. Other intervals are possible, and even desirable for certain edos like 13, 18, and 23.

	{{Wikipedia\| Enharmonic equivalence }}		{{Wikipedia\| Enharmonic equivalence }}

	'''Equivalence''' may arise from this approach~~. This~~ is when ~~you~~ have multiple names ~~for the same pitch~~. ~~The equivalence~~ that ~~occurs in 12edo is '''enharmonic equivalence'''.~~ C~~-sharp~~ is enharmonically equivalent to D~~-flat,~~ but only in 12edo, 24edo, 36edo, etc. The same term is sometimes used to refer to equivalence in general, but each edo technically has its own equivalence. [[7edo]] has the type of equivalence that could be called ''chromatic equivalence'', for example.		'''Equivalence''' may arise from this approach, which is when the same pitch can have multiple names. People are often taught that C♯ is enharmonically equivalent to D♭ but this is only true in [[12edo]] and its multiples (24edo, 36edo, etc.). The same term is sometimes used to refer to equivalence in general, but each edo technically has its own equivalence. [[7edo]] has the type of equivalence that could be called ''chromatic equivalence'', for example.

	== Specific notation schemes ==		== Specific notation schemes ==
Line 19:		Line 19:
	* [[Circle-of-fifths notation]] (and neutral circle-of-fifths notation)		* [[Circle-of-fifths notation]] (and neutral circle-of-fifths notation)
	** [[Ups and downs notation]]		** [[Ups and downs notation]]
	** [[Syntonic-rastmic subchroma notation]]		** [[Syntonic–rastmic subchroma notation]]
	** [[Sagittal notation]]		** [[Sagittal notation]]

	; Nondiatonic		; Nondiatonic
	* [[4L 5s (3/1-equivalent)#Notation\|Bohlen-Pierce notation]] (based on the [[lambda]] scale)		* [[4L 5s (3/1-equivalent)#Notation\|Bohlen–Pierce notation]] (based on the [[lambda]] scale)
	* [[Armodue]] number notation (based on the [[superdiatonic]] scale)		* [[Armodue]] number notation (based on the [[superdiatonic]] scale)
	* [[Fox-Raven notation]] (based on the [[oneirotonic]] scale)		* [[Fox-Raven notation]] (based on the [[oneirotonic]] scale)