Kite's thoughts on enharmonic unisons: Difference between revisions

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Likewise, if an octave of 8edo were notated as J K L M N O P Q J with no sharps or flats, there would be no EUs. Though, this type of notation is obviously only practical for small edos.

The usage of half-sharps and half-flats (t and d) creates a rather obvious EU: dd#.

Some notations, like ups and downs, notate all but the largest edos with only a single additional pair of accidentals. Other notations, like Sagittal and SKULO, notate edos using various commas such as 81/80, 64/63, and 33/32. Thus they notate an edo interval as a nearby JI interval, indicating the "feel" of the interval. For some edos, these notations use multiple such commas. For example, Sagittal notates [[41edo]] using 81/80 and 33/32, and SKULO notates it using all three commas. Each comma used adds a pair of accidentals, and hence increases the minimum number of EUs needed, complicating the respelling of intervals.

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 Likewise, if an octave of 8edo were notated as J K L M N O P Q J with no sharps or flats, there would be no EUs. Though, this type of notation is obviously only practical for small edos.
+The usage of half-sharps and half-flats (t and d) creates a rather obvious EU: dd#.
 Some notations, like ups and downs, notate all but the largest edos with only a single additional pair of accidentals. Other notations, like Sagittal and SKULO, notate edos using various commas such as 81/80, 64/63, and 33/32. Thus they notate an edo interval as a nearby JI interval, indicating the "feel" of the interval. For some edos, these notations use multiple such commas. For example, Sagittal notates [[41edo]] using 81/80 and 33/32, and SKULO notates it using all three commas. Each comma used adds a pair of accidentals, and hence increases the minimum number of EUs needed, complicating the respelling of intervals.