Diamond-mos notation: Difference between revisions

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Diamond-mos notation is based in a specific tuning (such as an edo) at a given time, written at the top of the score. The naturals on the staff represent a specific mos. The mos pattern is written in large and small steps at the top of the score (if applicable, in edosteps), e.g. "LLsLLsLs" (or "33133131" in the [[hard]] tuning). The natural staff notes are the specific mode written, starting from middle J (which is always equivalent to middle C as discussed in [[#Staff]]).

Diamond-mos notation treats the diatonic mos ([[5L 2s]]) as special. If you are using 5L 2s, diamond-mos looks like standard music notation. It uses standard clefs, #/b accidentals, and ABCDEFG note names. If you're using 5L 2s, you don't need to write the mos pattern on the score, only the tuning. If you're using an edo that has 5L 2s, its notes can be used as an unchanging reference other mosses can be compared against. For example, you might say “P@ = ~~B♭”~~ to provide a reference for which note P@ is.

Diamond-mos notation treats the diatonic mos ([[5L 2s]]) as special. If you are using 5L 2s, diamond-mos looks like standard music notation. It uses standard clefs, #/b accidentals, and ABCDEFG note names. If you're using 5L 2s, you don't need to write the mos pattern on the score, only the tuning. If you're using an edo that has 5L 2s, its notes can be used as an unchanging reference other mosses can be compared against. For example, you might say "P@ = B♭" to provide a reference for which note P@ is.

When using a non-diatonic mos, the mode you write for notation should be the mode you are writing in. This soft rule allows you to figure out the tonic just by looking at the key signature, as explained later. We call this a soft rule because there are situations where it makes less sense, such as if the tonic is ambiguous or shifting. If you break this rule, we would suggest making a note on the score when you do.

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== How to choose between enharmonics ==

Especially when working in small edos, there will be cases where there is more than one way to write a note. For example, J& and K@ may be enharmonic to each other. The way to choose which to write is similar to how you would make the choice in a 12edo score. The spelling you choose should reflect the mos structure of the piece. More practically speaking, you should choose spellings which lead to arrangements of notes which do not span too many generators. For example, in 12edo diatonic, ~~“B♭~~ D♭ F” spans four fifths (D♭ A♭ E♭ B♭ F), while "B♭ C♯ F" spans nine fifths.

Especially when working in small edos, there will be cases where there is more than one way to write a note. For example, J& and K@ may be enharmonic to each other. The way to choose which to write is similar to how you would make the choice in a 12edo score. The spelling you choose should reflect the mos structure of the piece. More practically speaking, you should choose spellings which lead to arrangements of notes which do not span too many generators. For example, in 12edo diatonic, "B♭ D♭ F" spans four fifths (D♭ A♭ E♭ B♭ F), while "B♭ C♯ F" spans nine fifths.

== Exceptions ==

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 Diamond-mos notation is based in a specific tuning (such as an edo) at a given time, written at the top of the score. The naturals on the staff represent a specific mos. The mos pattern is written in large and small steps at the top of the score (if applicable, in edosteps), e.g. "LLsLLsLs" (or "33133131" in the [[hard]] tuning). The natural staff notes are the specific mode written, starting from middle J (which is always equivalent to middle C as discussed in [[#Staff]]).
-Diamond-mos notation treats the diatonic mos ([[5L&nbsp;2s]]) as special. If you are using 5L&nbsp;2s, diamond-mos looks like standard music notation. It uses standard clefs, #/b accidentals, and ABCDEFG note names. If you're using 5L&nbsp;2s, you don't need to write the mos pattern on the score, only the tuning. If you're using an edo that has 5L&nbsp;2s, its notes can be used as an unchanging reference other mosses can be compared against. For example, you might say “P@ = B♭” to provide a reference for which note P@ is.
+Diamond-mos notation treats the diatonic mos ([[5L&nbsp;2s]]) as special. If you are using 5L&nbsp;2s, diamond-mos looks like standard music notation. It uses standard clefs, #/b accidentals, and ABCDEFG note names. If you're using 5L&nbsp;2s, you don't need to write the mos pattern on the score, only the tuning. If you're using an edo that has 5L&nbsp;2s, its notes can be used as an unchanging reference other mosses can be compared against. For example, you might say "P@ = B♭" to provide a reference for which note P@ is.
 When using a non-diatonic mos, the mode you write for notation should be the mode you are writing in. This soft rule allows you to figure out the tonic just by looking at the key signature, as explained later. We call this a soft rule because there are situations where it makes less sense, such as if the tonic is ambiguous or shifting. If you break this rule, we would suggest making a note on the score when you do.
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 == How to choose between enharmonics ==
-Especially when working in small edos, there will be cases where there is more than one way to write a note. For example, J& and K@ may be enharmonic to each other. The way to choose which to write is similar to how you would make the choice in a 12edo score. The spelling you choose should reflect the mos structure of the piece. More practically speaking, you should choose spellings which lead to arrangements of notes which do not span too many generators. For example, in 12edo diatonic, “B♭ D♭ F” spans four fifths (D♭ A♭ E♭ B♭ F), while "B♭ C♯ F" spans nine fifths.
+Especially when working in small edos, there will be cases where there is more than one way to write a note. For example, J& and K@ may be enharmonic to each other. The way to choose which to write is similar to how you would make the choice in a 12edo score. The spelling you choose should reflect the mos structure of the piece. More practically speaking, you should choose spellings which lead to arrangements of notes which do not span too many generators. For example, in 12edo diatonic, "B♭ D♭ F" spans four fifths (D♭ A♭ E♭ B♭ F), while "B♭ C♯ F" spans nine fifths.
 == Exceptions ==