Extended meantone notation: Difference between revisions

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== Generalizing accidentals ==

Most musicians are familiar with single and double sharps and flats—these denote raising and lowering by one or two chromatic semitones, respectively. In a general meantone tuning, there are two additional intervals: the diesis, which is the difference between adjacent accidentals (e.g. C♯–D♭ and D♯–E♭),<ref group="note" name="diesis_note">Having C♯ and D♭ be enharmonically equivalent is what most musicians would expect, but this is only true in equal temperament tunings where the number of notes is a multiple of 12. In most tuning systems, there are no enharmonic equivalents involving only sharps and flats.</ref> and the kleisma, which is the amount by which B♯ exceeds C♭ and E♯ exceeds F♭ (that is, C♭–B♯ and F♭–E♯).

Most musicians are familiar with single and double sharps and flats—these denote raising and lowering by one or two chromatic semitones, respectively. In a general meantone tuning, there are two additional intervals: the diesis, which is the difference between adjacent accidentals (e.g. C♯–D♭ and D♯–E♭),<ref group="note" name="diesis_note">Having C♯ and D♭ be enharmonically equivalent is what most musicians would expect, but this is only true in equal temperament tunings where the number of notes is a multiple of 12. In most tuning systems, there are no enharmonic equivalents involving only sharps and flats.</ref> and the kleisma, which is the amount by which B♯ exceeds C♭ and E♯ exceeds F♭ (that is, C♭ – B♯ and F♭ – E♯).

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 == Generalizing accidentals ==
-Most musicians are familiar with single and double sharps and flats&mdash;these denote raising and lowering by one or two chromatic semitones, respectively. In a general meantone tuning, there are two additional intervals: the diesis, which is the difference between adjacent accidentals (e.g. C♯&ndash;D♭ and D♯&ndash;E♭),<ref group="note" name="diesis_note">Having C♯ and D♭ be enharmonically equivalent is what most musicians would expect, but this is only true in equal temperament tunings where the number of notes is a multiple of 12. In most tuning systems, there are no enharmonic equivalents involving only sharps and flats.</ref> and the kleisma, which is the amount by which B♯ exceeds C♭ and E♯ exceeds F♭ (that is, C♭&ndash;B♯ and F♭&ndash;E♯).
+Most musicians are familiar with single and double sharps and flats&mdash;these denote raising and lowering by one or two chromatic semitones, respectively. In a general meantone tuning, there are two additional intervals: the diesis, which is the difference between adjacent accidentals (e.g. C♯&ndash;D♭ and D♯&ndash;E♭),<ref group="note" name="diesis_note">Having C♯ and D♭ be enharmonically equivalent is what most musicians would expect, but this is only true in equal temperament tunings where the number of notes is a multiple of 12. In most tuning systems, there are no enharmonic equivalents involving only sharps and flats.</ref> and the kleisma, which is the amount by which B♯ exceeds C♭ and E♯ exceeds F♭ (that is, C♭&#x200A;&ndash;&#x200A;B♯ and F♭&#x200A;&ndash;&#x200A;E♯).
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