Syntonic–rastmic subchroma notation: Difference between revisions

(2 intermediate revisions by the same user not shown)

Line 24:

| (None) || (2187/2048)0 || {{monzo| 0 }} ||

|-

| Demiflat || (2187/2048)-1/2 || {{monzo| 11/2 -7/2 }} || d

| Demiflat || (2187/2048)−1/2 || {{monzo| 11/2 -7/2 }} || d

|-

| Flat || (2187/2048)-1 || {{monzo| 11 -7 }} || b

| Flat || (2187/2048)−1 || {{monzo| 11 -7 }} || b

|-

| Sesquiflat || (2187/2048)-3/2 || {{monzo| 33/2 -21/2 }} || db

| Sesquiflat || (2187/2048)−3/2 || {{monzo| 33/2 -21/2 }} || db

|-

| Double flat || (2187/2048)-2 || {{monzo| 22 -14 }} || bb

| Double flat || (2187/2048)−2 || {{monzo| 22 -14 }} || bb

|-

| … || … || … || …

Line 54:

| (None) || (81/80)0 || {{monzo| 0 }} ||

|-

| Demisynflat || (81/80)-1/2 || {{monzo| 2 -2 1/2 }} || v

| Demisynflat || (81/80)−1/2 || {{monzo| 2 -2 1/2 }} || v

|-

| Synflat || (81/80)-1 || {{monzo| 4 -4 1 }} || ↓

| Synflat || (81/80)−1 || {{monzo| 4 -4 1 }} || ↓

|-

| … || … || … || …

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| (None) || (243/242)0 || {{monzo| 0 }} ||

|-

| Demiraflat || (243/242)-1/2 || {{monzo| 1/2 -5/2 0 1 }} || <

| Demiraflat || (243/242)−1/2 || {{monzo| 1/2 -5/2 0 1 }} || <

|-

| Raflat || (243/242)-1 || {{monzo| 1 -5 0 2 }} || \

| Raflat || (243/242)−1 || {{monzo| 1 -5 0 2 }} || \

|-

| Sesquiraflat || (243/242)-3/2 || {{monzo| 3/2 -15/2 0 3 }} || <\

| Sesquiraflat || (243/242)−3/2 || {{monzo| 3/2 -15/2 0 3 }} || <\

|-

| Double raflat || (243/242)-2 || {{monzo| 2 -10 0 4 }} || \\

| Double raflat || (243/242)−2 || {{monzo| 2 -10 0 4 }} || \\

|-

| … || … || … || …

Line 115:

=== Natural accidental ===

The natural accidental cancels all pitch alterations.

== Notation guide for common tunings ==

The syntonic–rastmic subchroma notation is closely related to the [[~~syntonic–rastmic~~ equivalence continuum]], in that the accidental settings are similar among tunings of a particular equivalence number. Due to enharmonic equivalences, however, each tuning system can take many accidental settings. Each case shown in the tables below is only one of them. Users should choose the combination in question according to the semantics.

The syntonic–rastmic subchroma notation is closely related to the [[syntonic-rastmic equivalence continuum]], in that the accidental settings are similar among tunings of a particular equivalence number. Due to enharmonic equivalences, however, each tuning system can take many accidental settings. Each case shown in the tables below is only one of them. Users should choose the combination in question according to the semantics.

Equal temperaments are shown if the corresponding edo has {1, 3, 9}-diamond consistency. Others can be notated as subsets or be extrapolated.

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~~[[Category:Notation]]~~

@@ Line 24: / Line 24: @@
 | (None) || (2187/2048)<sup>0</sup> || {{monzo| 0 }} ||
 |-
-| Demiflat || (2187/2048)<sup>-1/2</sup> || {{monzo| 11/2 -7/2 }} || d
+| Demiflat || (2187/2048)<sup>&minus;1/2</sup> || {{monzo| 11/2 -7/2 }} || d
 |-
-| Flat || (2187/2048)<sup>-1</sup> || {{monzo| 11 -7 }} || b
+| Flat || (2187/2048)<sup>&minus;1</sup> || {{monzo| 11 -7 }} || b
 |-
-| Sesquiflat || (2187/2048)<sup>-3/2</sup> || {{monzo| 33/2 -21/2 }} || db
+| Sesquiflat || (2187/2048)<sup>&minus;3/2</sup> || {{monzo| 33/2 -21/2 }} || db
 |-
-| Double flat || (2187/2048)<sup>-2</sup> || {{monzo| 22 -14 }} || bb
+| Double flat || (2187/2048)<sup>&minus;2</sup> || {{monzo| 22 -14 }} || bb
 |-
 | … || … || … || …
@@ Line 54: / Line 54: @@
 | (None) || (81/80)<sup>0</sup> || {{monzo| 0 }} ||
 |-
-| Demisynflat || (81/80)<sup>-1/2</sup> || {{monzo| 2 -2 1/2 }} || v
+| Demisynflat || (81/80)<sup>&minus;1/2</sup> || {{monzo| 2 -2 1/2 }} || v
 |-
-| Synflat || (81/80)<sup>-1</sup> || {{monzo| 4 -4 1 }} || ↓
+| Synflat || (81/80)<sup>&minus;1</sup> || {{monzo| 4 -4 1 }} || ↓
 |-
 | … || … || … || …
@@ Line 84: / Line 84: @@
 | (None) || (243/242)<sup>0</sup> || {{monzo| 0 }} ||
 |-
-| Demiraflat || (243/242)<sup>-1/2</sup> || {{monzo| 1/2 -5/2 0 1 }} || <
+| Demiraflat || (243/242)<sup>&minus;1/2</sup> || {{monzo| 1/2 -5/2 0 1 }} || <
 |-
-| Raflat || (243/242)<sup>-1</sup> || {{monzo| 1 -5 0 2 }} || \
+| Raflat || (243/242)<sup>&minus;1</sup> || {{monzo| 1 -5 0 2 }} || \
 |-
-| Sesquiraflat || (243/242)<sup>-3/2</sup> || {{monzo| 3/2 -15/2 0 3 }} || <\
+| Sesquiraflat || (243/242)<sup>&minus;3/2</sup> || {{monzo| 3/2 -15/2 0 3 }} || <\
 |-
-| Double raflat || (243/242)<sup>-2</sup> || {{monzo| 2 -10 0 4 }} || \\
+| Double raflat || (243/242)<sup>&minus;2</sup> || {{monzo| 2 -10 0 4 }} || \\
 |-
 | … || … || … || …
@@ Line 115: / Line 115: @@
 === Natural accidental ===
 The natural accidental cancels all pitch alterations.
 == Notation guide for common tunings ==
-The syntonic–rastmic subchroma notation is closely related to the [[syntonic–rastmic equivalence continuum]], in that the accidental settings are similar among tunings of a particular equivalence number. Due to enharmonic equivalences, however, each tuning system can take many accidental settings. Each case shown in the tables below is only one of them. Users should choose the combination in question according to the semantics.
+The syntonic–rastmic subchroma notation is closely related to the [[syntonic-rastmic equivalence continuum]], in that the accidental settings are similar among tunings of a particular equivalence number. Due to enharmonic equivalences, however, each tuning system can take many accidental settings. Each case shown in the tables below is only one of them. Users should choose the combination in question according to the semantics.
 Equal temperaments are shown if the corresponding edo has {1, 3, 9}-diamond consistency. Others can be notated as subsets or be extrapolated.
@@ Line 309: / Line 309: @@
 <references />
-{{Notation navbox}}
+{{Navbox notation}}
-[[Category:Notation]]