Syntonic–rastmic subchroma notation: Difference between revisions

The '''syntonic-rastmic subchroma notation''' is a notation scheme developed by [[Aura]] et al.<ref>Other contributors include [[Flora Canou]] and [[User:SupahstarSaga|HEHEHE I AM A SUPAHSTAR SAGA]].</ref> that is an expansion to the [[neutral circle-of-fifths notation]].  

While the neutral circle-of-fifths notation models the 2.3 [[subgroup]] of [[just intonation]], with the neutral intervals capable of roughly modeling the harmonic 11, the syntonic-rastmic subchroma notation accurately captures the characteristics of the 2.3.5.11 subgroup, and is fit for a wider variety of equal temperaments and multirank temperaments.  As it tries to strike a balance between the number and semantic consistency of the accidentals, it has the following three basic building blocks of accidentals: the conventional accidentals, the syntonic accidentals, and the rastmic and demirastmic accidentals, detailed below.  

|+Series of conventional accidentals

! Name !! Ratio !! Monzo !! Textual<br>Representation

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

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

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

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

=== Syntonic accidentals ===

The syntonic accidentals model the harmonic 5. The synsharp raises the pitch by a syntonic comma. The synflat lowers the pitch by the same amount.  

|+Series of syntonic accidentals

! Name !! Ratio !! Monzo !! Textual<br>Representation*

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

[[File:Demirastmic Accidentals.png|thumb|Demirastmic accidentals (WIP)]]

The rastmic and demirastmic accidentals model the harmonic 11. The demirasharp raises the pitch by half a rastma. The demiraflat lowers the pitch by the same amount. '''Note''': The graphical forms of demirastmic accidentals are work in progress.  

|+Series of rastmic and demirastmic accidentals

! Name !! Ratio !! Subgroup Monzo<br>(2.3.5.11) !! Textual<br>Representation

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

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

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

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

|+ Overview of accidentals

! Name !! Ratio !! Subgroup Monzo<br>(2.3.5.11) !! Textual<br>Representation

The natural accidental cancels all pitch alterations.

 

Courtesy of collaboration between Aura and [[Lillian Hearne]], syntonic-rastmic subchroma notation also has connections to [[SKULO interval names]] in which raising by the rastma is represented by "R" and lowering by the rastma is represented by "r".

Due to enharmonic equivalences, 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.  

|+ Neutral tunings

|+ Protomere tunings – order 1

|+ Protomere tunings – order 2

|+ Deuteromere tunings – order 1

|+ Deuteromere tunings – order 2

| 18 || >, /, ↑<, ↑, ↑>, ↑/, ↑↑<, t<, t, <br>t>, #↓↓>, #↓\, #↓<, #↓, #↓>, #\, #<, # || Neutral 7 & 87 || 174, 181, 188c

| 20 || >, /, ↑<, ↑, ↑>, ↑/, ↑↑<, ↑↑, t<, t, <br>t>, #↓↓, #↓↓>, #↓\, #↓<, #↓, #↓>, #\, #<, # || 7 & 205 || 198, 205, 212, 219ce

| 22 || >, /, ↑<, ↑, ↑>, ↑/, ↑↑<, ↑↑, ↑↑>, t<, <br>t, t>, #↓↓<, #↓↓, #↓↓>, #↓\, #↓<, #↓, #↓>, #\, #<, # || Neutral twentcufo || 222c, 229, 236, 243e

|+ Tritomere tunings – order 1

|+ Tritomere tunings – order 2

| 28 || >, /, />, ↑\, ↑<, ↑, ↑>, ↑/, ↑/>, ↑↑\, ↑↑<, ↑↑, t<, t, <br>t>, #↓↓, #↓↓>, #↓↓/, #↓\<, #↓\, #↓<, #↓, #↓>, #↓/, #\<, #\, #<, # || 7 & 280 || 280, 287, 294c

| 30 || >, /, />, ↑\, ↑<, ↑, ↑>, ↑/, ↑/>, ↑↑\, ↑↑<, ↑↑, ↑↑>, t<, t, <br>t>, #↓↓<, #↓↓, #↓↓>, #↓↓/, #↓\<, #↓\, #↓<, #↓, #↓>, #↓/, #\<, #\, #<, # || Neutral trinity restriction || 304, 311, 318, 325c

| 32 || >, /, />, ↑\, ↑<, ↑, ↑>, ↑/, ↑/>, ↑↑\, ↑↑<, ↑↑, ↑↑>, ↑↑/, t<, t, <br>t>, #↓↓\, #↓↓<, #↓↓, #↓↓>, #↓↓/, #↓\<, #↓\, #↓<, #↓, #↓>, #↓/, #\<, #\, #<, # || 7 & 335 || 321ce, 328, 335, 342, 349, 356ce

| 34 || >, /, />, ↑\, ↑<, ↑, ↑>, ↑/, ↑/>, ↑↑\, ↑↑<, ↑↑, ↑↑>, ↑↑/, ↑↑/>, t<, t, <br>t>, #↓↓\<, #↓↓\, #↓↓<, #↓↓, #↓↓>, #↓↓/, #↓\<, #↓\, #↓<, #↓, #↓>, #↓/, #\<, #\, #<, # || 7 & 359 || 352c, 359, 366, 373

| 36 || >, /, />, ↑\, ↑<, ↑, ↑>, ↑/, ↑/>, ↑↑\, ↑↑<, ↑↑, ↑↑>, ↑↑/, ↑↑/>, ↑↑//, t<, t, <br>t>, #↓↓\\, #↓↓\<, #↓↓\, #↓↓<, #↓↓, #↓↓>, #↓↓/, #↓\<, #↓\, #↓<, #↓, #↓>, #↓/, #\<, #\, #<, # || 7 & 390 || 383c, 390, 397

|+ Hemitritomere tunings

|+ Tetartomere tunings – order 1

|+ Pemptomere tunings – order 1

|+ Hemipemptomere tunings

<references/>