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<h2>IMPORTED REVISION FROM WIKISPACES</h2>
'''Rational comma notation''' ('''RCN''') is a [[musical notation]] system using either plaintext (ASCII) or richtext to notate any frequency in [[just intonation]] (JI). It also names the pitch classes, which are notes up to [[octave equivalence]]. It was developed in 2015-2017 by musician and music theorist [[David Ryan]].
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
: This revision was by author [[User:daveryan23|daveryan23]] and made on <tt>2017-12-18 01:52:13 UTC</tt>.<br>
: The original revision id was <tt>623968641</tt>.<br>
: The revision comment was: <tt></tt><br>
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
<h4>Original Wikitext content:</h4>
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">A system using either plaintext (ASCII) or richtext to notate any frequency in Just Intonation (JI).
Also names the pitch classes, which are notes up to octave equivalence.
Developed in 2015-2017 by the musician and music theorist [[David Ryan]].
* Paper (pre-print) for defining all the prime commas by algorithm and the basic notation: http://arxiv.org/abs/1612.01860 - also compares between some different choices for algorithm.
* Paper (pre-print) for defining how the notation breaks down into components and enables key changes and transposition: http://arxiv.org/abs/1508.07739
The two links above give the abstract pages on arXiv, and the PDFs are free to download from arXiv.
* [[http://www.retuner.net|ReTuner]] musical instrument, incorporating live calculation of RCN note names on instrument keys


**Rational Comma Notation (RCN)** is a combination of:
RCN is a combination of:
* 3-limit notation using a modified version of Scientific Pitch Notation (SPN), e.g. C4, C5, F#3
 
* 3-limit notation using a modified version of scientific pitch notation (SPN), e.g. C4, C5, F#3
* Rational commas for describing higher prime information in a frequency as microtonal adjustments of a Pythagorean frequency, e.g. [5], [1/7], [77/65]
* Rational commas for describing higher prime information in a frequency as microtonal adjustments of a Pythagorean frequency, e.g. [5], [1/7], [77/65]
Together these are able to notate the whole of free-JI using notations of the form E4[5], Eb3[1/5], etc.
 
Together these are able to notate the whole of free JI using notations of the form E4[5], Eb3[1/5], etc.


RCN as a general scheme comes in different versions. The version RCN_X (subscript) allocates commas [5], [7], [11], [13]... to primes 5, 7, 11, 13... using algorithm X. By using different algorithms, different versions of RCN emerge. The first paper linked to above contains an algorithm due to the author (RCN_DR) as well as a comparison to RCN from two other algorithms (RCN_SAG, RCN_KG). Different composers might prefer different algorithms since there are different criteria to optimise for prime commas. A consensus has not been reached yet as to the best algorithm. This need not hinder using RCN, since it is possible to translate between any two versions of RCN, or indeed between any two free-JI notations.
RCN as a general scheme comes in different versions. The version RCN_X (subscript) allocates commas [5], [7], [11], [13]... to primes 5, 7, 11, 13... using algorithm X. By using different algorithms, different versions of RCN emerge. The first paper linked to above contains an algorithm due to the author (RCN_DR) as well as a comparison to RCN from two other algorithms (RCN_SAG, RCN_KG). Different composers might prefer different algorithms since there are different criteria to optimise for prime commas. A consensus has not been reached yet as to the best algorithm. This need not hinder using RCN, since it is possible to translate between any two versions of RCN, or indeed between any two free-JI notations.


**Key features of RCN:**
== Key features of RCN ==
 
Every rational-numbered frequency can be given a notation in this system of the form Lz[x/y] where L is a 3-limit note label, z is octave number, [x/y] is a rational comma comprising prime commas multiplied together.
Every rational-numbered frequency can be given a notation in this system of the form Lz[x/y] where L is a 3-limit note label, z is octave number, [x/y] is a rational comma comprising prime commas multiplied together.
All pitch classes can be represented with a notation L[x/y]
All pitch classes can be represented with a notation L[x/y]
3-limit frequencies have the simplest notations, and have no comma, so their form is Lz or L(-z) for negative octave number, similar to Scientific Pitch Notation
 
3-limit frequencies have the simplest notations, and have no comma, so their form is Lz or L(-z) for negative octave number, similar to scientific pitch notation
 
3-limit notations correspond to notes on a standard musical stave, which may need one or more sharps or flats to fully describe
3-limit notations correspond to notes on a standard musical stave, which may need one or more sharps or flats to fully describe
The plaintext version of the notation can be inputted by computer keyboard alone (ASCII characters)
The plaintext version of the notation can be inputted by computer keyboard alone (ASCII characters)
Can transpose any JI music into any other key, by multiplying notations together. (In a computerised stave, this could be automated)
Can transpose any JI music into any other key, by multiplying notations together. (In a computerised stave, this could be automated)
Shorthand exists for 5-limit notations such as L' = L[5], L'' = L[25], L. = L[1/5], etc
 
Shorthand exists for 5-limit notations such as L' = L[5], L&apos;&apos; = L[25], L. = L[1/5], etc.
 
Shorthand exists for pitch classes, of form L~a_b which is the same pitch class as L[x/y]
Shorthand exists for pitch classes, of form L~a_b which is the same pitch class as L[x/y]
These shorthands allow the 7-limit tone lattice of pitch classes (3-dimensional) to be drawn quickly and accurately
These shorthands allow the 7-limit tone lattice of pitch classes (3-dimensional) to be drawn quickly and accurately
Optional shorthand for Pythagorean comma (B#3=531441/524288) and its inverse, which can help improve 3-limit note names
Optional shorthand for Pythagorean comma (B#3=531441/524288) and its inverse, which can help improve 3-limit note names


Note that this system (Jan 2017) has had the algorithm, the notation style, and the octave numbering amended from previous drafts (e.g. Sept 2015) due to feedback from relevant Facebook groups. It is recommended to use the style Lz[x/y] set out in the papers above, and not the style from previous drafts!
Note that this system (Jan 2017) has had the algorithm, the notation style, and the octave numbering amended from previous drafts (e.g. Sept 2015) due to feedback from relevant Facebook groups. It is recommended to use the style Lz[x/y] set out in the papers above, and not the style from previous drafts!


**Prime and Rational Comma examples under DR algorithm:**
== Prime and rational comma examples under DR algorithm ==
Prime:
* [5] = 80/81
* [7] = 63/64
* [11] = 33/32
* [13] = 26/27
* [17] = 2176/2187
* [19] = 513/512


__Prime__:
Rational:
[5] = 80/81
* [1/5] = 1/[5] = 81/80
[7] = 63/64
* [35] = [5]*[7] = 35/36
[11] = 33/32
* [5/13] = [5]/[13] = 40/39
[13] = 26/27
[17] = 2176/2187
[19] = 513/512


__Rational__:
== Notation examples ==
[1/5] = 1/[5] = 81/80
=== 2-limit ===
[35] = [5]*[7] = 35/36
Octave equivalence class:
[5/13] = [5]/[13] = 40/39
* C = {...1/4, 1/2, 1/1, 2/1, 4/1...}


**Notation examples:**
Individual notes:
* C4 = 1/1
* C5 = 2/1
* C3 = 1/2
* C6 = 4/1
* C1 = 1/8
* C(-2) = 1/64


__//2-limit://__
=== 3-limit ===
//Octave equivalence class://
Pythagorean - definitions of note names and sharps and flats are all here!
C = {...1/4, 1/2, 1/1, 2/1, 4/1...}
 
//Individual notes://
Octave equivalence classes:
C4 = 1/1
* F = {...1/12, 1/6, 1/3, 2/3, 4/3, 8/3, 16/3...}
C5 = 2/1
* G = {...3/16, 3/8, 3/4, 3/2, 3/1, 6/1, 12/1...}
C3 = 1/2
* A = {...27/128, 27/64, 27/32, 27/16, 27/8, 27/4, 27/2, 27/1, 54/1...}
C6 = 4/1
* Bb = {...1/18, 1/9, 2/9, 4/9, 8/9, 16/9, 32/9, 64/9...}
C1 = 1/8
 
C(-2) = 1/64
Basic note labels in diatonic scale (requiring no sharps or flats):
* C4 = 1/1
* D4 = 9/8
* E4 = 81/64
* F4 = 4/3
* G4 = 3/2
* A4 = 27/16
* B4 = 243/128
 
Individual notes:
* F5 = 8/3
* G5 = 3/1
* A8 = 27/1
* F2 = 1/3
* F#3 = 729/1024
* C#4 = 2187/2048 (equivalent to a sharp # character)
* Cb4 = 2048/2187 (equivalent to a flat b character)


__//3-limit - Pythagorean - definitions of note names and sharps and flats are all here!//__
//Octave equivalence classes://
F = {...1/12, 1/6, 1/3, 2/3, 4/3, 8/3, 16/3...}
G = {...3/16, 3/8, 3/4, 3/2, 3/1, 6/1, 12/1...}
A = {...27/128, 27/64, 27/32, 27/16, 27/8, 27/4, 27/2, 27/1, 54/1...}
Bb = {...1/18, 1/9, 2/9, 4/9, 8/9, 16/9, 32/9, 64/9...}
//Basic Note Labels in Diatonic Scale (requiring no sharps or flats)//
C4 = 1/1
D4 = 9/8
E4 = 81/64
F4 = 4/3
G4 = 3/2
A4 = 27/16
B4 = 243/128
//Individual notes://
F5 = 8/3
G5 = 3/1
A8 = 27/1
F2 = 1/3
F#3 = 729/1024
C#4 = 2187/2048 (equivalent to a sharp # character)
Cb4 = 2048/2187 (equivalent to a flat b character)
Larger number of sharps or flats continue indefinitely up or down the Pythagorean series of fifths.
Larger number of sharps or flats continue indefinitely up or down the Pythagorean series of fifths.


__//5-limit://__
=== 5-limit ===
//Octave equivalence classes://
Octave equivalence classes:
E' = E[5] = {...5/8, 5/4, 5/2, 5/1, 10/1...}
* E' = E[5] = {...5/8, 5/4, 5/2, 5/1, 10/1...}
Ab. = Ab[1/5] = {...1/10, 1/5, 2/5, 4/5, 8/5...}
* Ab. = Ab[1/5] = {...1/10, 1/5, 2/5, 4/5, 8/5...}
//Individual notes://
 
E'4 = E4[5] = 5/4
Individual notes:
Ab.4 = Ab4[1/5] = 4/5
* E'4 = E4[5] = 5/4
A'4 = A4[5] = 5/3
* Ab.4 = Ab4[1/5] = 4/5
Db.4 = Db4[1/5] = 16/15
* A'4 = A4[5] = 5/3
* Db.4 = Db4[1/5] = 16/15
 
=== 7-limit ===
Octave equivalence classes:
* Bb~7 = Bb[7] = {...7/16, 7/8, 7/4, 7/2, 7/1, 14/1...}
* D_7 = D[1/7] = {...1/14, 1/7, 2/7, 4/7, 8/7, 16/7...}
 
Individual notes:
* Bb4[7] = 7/4
* D4[7] = 8/7
* F4[7] = 21/16
* Eb4[7] = 7/6


__//7-limit//__
=== Higher ''p''-limits ===
//Octave equivalence classes://
* F4[11] = 11/8
Bb~7 = Bb[7] = {...7/16, 7/8, 7/4, 7/2, 7/1, 14/1...}
* A4[13] = 13/8
D_7 = D[1/7] = {...1/14, 1/7, 2/7, 4/7, 8/7, 16/7...}
* C#4[17] = 17/16
//Individual notes://
* Eb4[19] = 19/16
Bb4[7] = 7/4
* F#4[23] = 23/16
D4[7] = 8/7
* Bb4[29] = 29/16
F4[7] = 21/16
* C4[31] = 31/32 (which is itself a prime comma!)
Eb4[7] = 7/6
* D4[37] = 37/32


__//Higher p-limits//__
Notations can be derived for ''p''/2^''n'' for all higher ''p'', using the prime comma algorithm.
F4[11] = 11/8
A4[13] = 13/8
C#4[17] = 17/16
Eb4[19] = 19/16
F#4[23] = 23/16
Bb4[29] = 29/16
C4[31] = 31/32 (which is itself a prime comma!)
D4[37] = 37/32
Notations can be derived for p/2^n for all higher p, using the prime comma algorithm.


**Other links**
== Future work ==
In future work, it is hoped to develop a computer based / online free-JI scoring system where the comma numbers (5, 1/7, 65/77, etc) are annotated directly onto notes in order to retune them from Pythagorean notes. The score would be Pythagorean, and commas used as accidentals to be able to compose in free JI and enable anyone to make free-JI music online. If anyone wants to help with this project, please contact David Ryan.


Calculation examples are given in the second paper listed above.
== External links ==
* [http://arxiv.org/abs/1612.01860 Paper (pre-print) for defining all the prime commas by algorithm and the basic notation] (also compares between some different choices for algorithm)
* [http://arxiv.org/abs/1508.07739 Paper (pre-print) for defining how the notation breaks down into components and enables key changes and transposition] (also includes calculation examples)
* [http://www.retuner.net ReTuner] musical instrument, incorporating live calculation of RCN note names on instrument keys
* Some music created using this notation is available on: [http://soundcloud.com/daveryan23/tracks Dave Ryan's SoundCloud profile]


Some music created using this notation is available at:
{{Navbox notation}}
* Dave Ryan's SoundCloud page: http://soundcloud.com/daveryan23/tracks


In future work, it is hoped to develop a computer based / online free-JI scoring system where the comma numbers (5, 1/7, 65/77, etc) are annotated directly onto notes in order to retune them from Pythagorean notes. The score would be Pythagorean, and commas used as accidentals to be able to compose in free-JI and enable anyone to make free-JI music online. If anyone wants to help with this project, please contact David Ryan.</pre></div>
[[Category:Notation]]
<h4>Original HTML content:</h4>
[[Category:Just intonation]]
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html">&lt;html&gt;&lt;head&gt;&lt;title&gt;Rational Comma Notation (RCN)&lt;/title&gt;&lt;/head&gt;&lt;body&gt;A system using either plaintext (ASCII) or richtext to notate any frequency in Just Intonation (JI).&lt;br /&gt;
Also names the pitch classes, which are notes up to octave equivalence.&lt;br /&gt;
Developed in 2015-2017 by the musician and music theorist &lt;a class="wiki_link" href="/David%20Ryan"&gt;David Ryan&lt;/a&gt;.&lt;br /&gt;
&lt;ul&gt;&lt;li&gt;Paper (pre-print) for defining all the prime commas by algorithm and the basic notation: &lt;!-- ws:start:WikiTextUrlRule:135:http://arxiv.org/abs/1612.01860 --&gt;&lt;a class="wiki_link_ext" href="http://arxiv.org/abs/1612.01860" rel="nofollow"&gt;http://arxiv.org/abs/1612.01860&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:135 --&gt; - also compares between some different choices for algorithm.&lt;/li&gt;&lt;li&gt;Paper (pre-print) for defining how the notation breaks down into components and enables key changes and transposition: &lt;!-- ws:start:WikiTextUrlRule:136:http://arxiv.org/abs/1508.07739 --&gt;&lt;a class="wiki_link_ext" href="http://arxiv.org/abs/1508.07739" rel="nofollow"&gt;http://arxiv.org/abs/1508.07739&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:136 --&gt;&lt;/li&gt;&lt;/ul&gt;The two links above give the abstract pages on arXiv, and the PDFs are free to download from arXiv.&lt;br /&gt;
&lt;ul&gt;&lt;li&gt;&lt;a class="wiki_link_ext" href="http://www.retuner.net" rel="nofollow"&gt;ReTuner&lt;/a&gt; musical instrument, incorporating live calculation of RCN note names on instrument keys&lt;/li&gt;&lt;/ul&gt;&lt;br /&gt;
&lt;strong&gt;Rational Comma Notation (RCN)&lt;/strong&gt; is a combination of:&lt;br /&gt;
&lt;ul&gt;&lt;li&gt;3-limit notation using a modified version of Scientific Pitch Notation (SPN), e.g. C4, C5, F#3&lt;/li&gt;&lt;li&gt;Rational commas for describing higher prime information in a frequency as microtonal adjustments of a Pythagorean frequency, e.g. [5], [1/7], [77/65]&lt;/li&gt;&lt;/ul&gt;Together these are able to notate the whole of free-JI using notations of the form E4[5], Eb3[1/5], etc.&lt;br /&gt;
&lt;br /&gt;
RCN as a general scheme comes in different versions. The version RCN_X (subscript) allocates commas [5], [7], [11], [13]... to primes 5, 7, 11, 13... using algorithm X. By using different algorithms, different versions of RCN emerge. The first paper linked to above contains an algorithm due to the author (RCN_DR) as well as a comparison to RCN from two other algorithms (RCN_SAG, RCN_KG). Different composers might prefer different algorithms since there are different criteria to optimise for prime commas. A consensus has not been reached yet as to the best algorithm. This need not hinder using RCN, since it is possible to translate between any two versions of RCN, or indeed between any two free-JI notations.&lt;br /&gt;
&lt;br /&gt;
&lt;strong&gt;Key features of RCN:&lt;/strong&gt;&lt;br /&gt;
Every rational-numbered frequency can be given a notation in this system of the form Lz[x/y] where L is a 3-limit note label, z is octave number, [x/y] is a rational comma comprising prime commas multiplied together.&lt;br /&gt;
All pitch classes can be represented with a notation L[x/y]&lt;br /&gt;
3-limit frequencies have the simplest notations, and have no comma, so their form is Lz or L(-z) for negative octave number, similar to Scientific Pitch Notation&lt;br /&gt;
3-limit notations correspond to notes on a standard musical stave, which may need one or more sharps or flats to fully describe&lt;br /&gt;
The plaintext version of the notation can be inputted by computer keyboard alone (ASCII characters)&lt;br /&gt;
Can transpose any JI music into any other key, by multiplying notations together. (In a computerised stave, this could be automated)&lt;br /&gt;
Shorthand exists for 5-limit notations such as L' = L[5], L'' = L[25], L. = L[1/5], etc&lt;br /&gt;
Shorthand exists for pitch classes, of form L~a_b which is the same pitch class as L[x/y]&lt;br /&gt;
These shorthands allow the 7-limit tone lattice of pitch classes (3-dimensional) to be drawn quickly and accurately&lt;br /&gt;
Optional shorthand for Pythagorean comma (B#3=531441/524288) and its inverse, which can help improve 3-limit note names&lt;br /&gt;
&lt;br /&gt;
Note that this system (Jan 2017) has had the algorithm, the notation style, and the octave numbering amended from previous drafts (e.g. Sept 2015) due to feedback from relevant Facebook groups. It is recommended to use the style Lz[x/y] set out in the papers above, and not the style from previous drafts!&lt;br /&gt;
&lt;br /&gt;
&lt;strong&gt;Prime and Rational Comma examples under DR algorithm:&lt;/strong&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;u&gt;Prime&lt;/u&gt;:&lt;br /&gt;
[5] = 80/81&lt;br /&gt;
[7] = 63/64&lt;br /&gt;
[11] = 33/32&lt;br /&gt;
[13] = 26/27&lt;br /&gt;
[17] = 2176/2187&lt;br /&gt;
[19] = 513/512&lt;br /&gt;
&lt;br /&gt;
&lt;u&gt;Rational&lt;/u&gt;:&lt;br /&gt;
[1/5] = 1/[5] = 81/80&lt;br /&gt;
[35] = [5]*[7] = 35/36&lt;br /&gt;
[5/13] = [5]/[13] = 40/39&lt;br /&gt;
&lt;br /&gt;
&lt;strong&gt;Notation examples:&lt;/strong&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;u&gt;&lt;em&gt;2-limit:&lt;/em&gt;&lt;/u&gt;&lt;br /&gt;
&lt;em&gt;Octave equivalence class:&lt;/em&gt;&lt;br /&gt;
C = {...1/4, 1/2, 1/1, 2/1, 4/1...}&lt;br /&gt;
&lt;em&gt;Individual notes:&lt;/em&gt;&lt;br /&gt;
C4 = 1/1&lt;br /&gt;
C5 = 2/1&lt;br /&gt;
C3 = 1/2&lt;br /&gt;
C6 = 4/1&lt;br /&gt;
C1 = 1/8&lt;br /&gt;
C(-2) = 1/64&lt;br /&gt;
&lt;br /&gt;
&lt;u&gt;&lt;em&gt;3-limit - Pythagorean - definitions of note names and sharps and flats are all here!&lt;/em&gt;&lt;/u&gt;&lt;br /&gt;
&lt;em&gt;Octave equivalence classes:&lt;/em&gt;&lt;br /&gt;
F = {...1/12, 1/6, 1/3, 2/3, 4/3, 8/3, 16/3...}&lt;br /&gt;
G = {...3/16, 3/8, 3/4, 3/2, 3/1, 6/1, 12/1...}&lt;br /&gt;
A = {...27/128, 27/64, 27/32, 27/16, 27/8, 27/4, 27/2, 27/1, 54/1...}&lt;br /&gt;
Bb = {...1/18, 1/9, 2/9, 4/9, 8/9, 16/9, 32/9, 64/9...}&lt;br /&gt;
&lt;em&gt;Basic Note Labels in Diatonic Scale (requiring no sharps or flats)&lt;/em&gt;&lt;br /&gt;
C4 = 1/1&lt;br /&gt;
D4 = 9/8&lt;br /&gt;
E4 = 81/64&lt;br /&gt;
F4 = 4/3&lt;br /&gt;
G4 = 3/2&lt;br /&gt;
A4 = 27/16&lt;br /&gt;
B4 = 243/128&lt;br /&gt;
&lt;em&gt;Individual notes:&lt;/em&gt;&lt;br /&gt;
F5 = 8/3&lt;br /&gt;
G5 = 3/1&lt;br /&gt;
A8 = 27/1&lt;br /&gt;
F2 = 1/3&lt;br /&gt;
F#3 = 729/1024&lt;br /&gt;
C#4 = 2187/2048 (equivalent to a sharp # character)&lt;br /&gt;
Cb4 = 2048/2187 (equivalent to a flat b character)&lt;br /&gt;
Larger number of sharps or flats continue indefinitely up or down the Pythagorean series of fifths.&lt;br /&gt;
&lt;br /&gt;
&lt;u&gt;&lt;em&gt;5-limit:&lt;/em&gt;&lt;/u&gt;&lt;br /&gt;
&lt;em&gt;Octave equivalence classes:&lt;/em&gt;&lt;br /&gt;
E' = E[5] = {...5/8, 5/4, 5/2, 5/1, 10/1...}&lt;br /&gt;
Ab. = Ab[1/5] = {...1/10, 1/5, 2/5, 4/5, 8/5...}&lt;br /&gt;
&lt;em&gt;Individual notes:&lt;/em&gt;&lt;br /&gt;
E'4 = E4[5] = 5/4&lt;br /&gt;
Ab.4 = Ab4[1/5] = 4/5&lt;br /&gt;
A'4 = A4[5] = 5/3&lt;br /&gt;
Db.4 = Db4[1/5] = 16/15&lt;br /&gt;
&lt;br /&gt;
&lt;u&gt;&lt;em&gt;7-limit&lt;/em&gt;&lt;/u&gt;&lt;br /&gt;
&lt;em&gt;Octave equivalence classes:&lt;/em&gt;&lt;br /&gt;
Bb~7 = Bb[7] = {...7/16, 7/8, 7/4, 7/2, 7/1, 14/1...}&lt;br /&gt;
D_7 = D[1/7] = {...1/14, 1/7, 2/7, 4/7, 8/7, 16/7...}&lt;br /&gt;
&lt;em&gt;Individual notes:&lt;/em&gt;&lt;br /&gt;
Bb4[7] = 7/4&lt;br /&gt;
D4[7] = 8/7&lt;br /&gt;
F4[7] = 21/16&lt;br /&gt;
Eb4[7] = 7/6&lt;br /&gt;
&lt;br /&gt;
&lt;u&gt;&lt;em&gt;Higher p-limits&lt;/em&gt;&lt;/u&gt;&lt;br /&gt;
F4[11] = 11/8&lt;br /&gt;
A4[13] = 13/8&lt;br /&gt;
C#4[17] = 17/16&lt;br /&gt;
Eb4[19] = 19/16&lt;br /&gt;
F#4[23] = 23/16&lt;br /&gt;
Bb4[29] = 29/16&lt;br /&gt;
C4[31] = 31/32 (which is itself a prime comma!)&lt;br /&gt;
D4[37] = 37/32&lt;br /&gt;
Notations can be derived for p/2^n for all higher p, using the prime comma algorithm.&lt;br /&gt;
&lt;br /&gt;
&lt;strong&gt;Other links&lt;/strong&gt;&lt;br /&gt;
&lt;br /&gt;
Calculation examples are given in the second paper listed above.&lt;br /&gt;
&lt;br /&gt;
Some music created using this notation is available at:&lt;br /&gt;
&lt;ul&gt;&lt;li&gt;Dave Ryan's SoundCloud page: &lt;!-- ws:start:WikiTextUrlRule:137:http://soundcloud.com/daveryan23/tracks --&gt;&lt;a class="wiki_link_ext" href="http://soundcloud.com/daveryan23/tracks" rel="nofollow"&gt;http://soundcloud.com/daveryan23/tracks&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:137 --&gt;&lt;/li&gt;&lt;/ul&gt;&lt;br /&gt;
In future work, it is hoped to develop a computer based / online free-JI scoring system where the comma numbers (5, 1/7, 65/77, etc) are annotated directly onto notes in order to retune them from Pythagorean notes. The score would be Pythagorean, and commas used as accidentals to be able to compose in free-JI and enable anyone to make free-JI music online. If anyone wants to help with this project, please contact David Ryan.&lt;/body&gt;&lt;/html&gt;</pre></div>
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