Introductory examples in Sagittal notation: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>

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: This revision was by author [[User:hstraub|hstraub]] and made on <tt>2015-08-23 12:01:49 UTC</tt>.

: This revision was by author [[User:hstraub|hstraub]] and made on <tt>2015-08-23 12:33:03 UTC</tt>.

: The original revision id was <tt>~~557205817~~</tt>.

: The original revision id was <tt>557207111</tt>.

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[[image:SagittalEDOExample.jpg]]

What is displayed is the tetrad consisting of the overtones 4 to 7 (respectively, in equal temperaments, of their approximations), a chord resembling a dominant seventh chord. ~~First~~ appears in mixed Sagittal notation for just intonation, with the syntonic comma symbol at the E note and the septimal ~~vomma~~ symbol at the Bb note.

What is displayed is the tetrad consisting of the overtones 4 to 7 (respectively, in equal temperaments, of their approximations), a chord resembling a dominant seventh chord. It appears first in mixed Sagittal notation for just intonation, with the syntonic comma symbol at the E note and the septimal comma symbol at the Bb note.

In equal temperaments, we could, in theory, write it always like that, following guideline 1. But depending on the concrete equal division there will be harmonic equivalences that suggest certain simplifications.

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<img src="/file/view/SagittalEDOExample.jpg/557089549/SagittalEDOExample.jpg" alt="SagittalEDOExample.jpg" title="SagittalEDOExample.jpg" />

What is displayed is the tetrad consisting of the overtones 4 to 7 (respectively, in equal temperaments, of their approximations), a chord resembling a dominant seventh chord. ~~First~~ appears in mixed Sagittal notation for just intonation, with the syntonic comma symbol at the E note and the septimal ~~vomma~~ symbol at the Bb note.

What is displayed is the tetrad consisting of the overtones 4 to 7 (respectively, in equal temperaments, of their approximations), a chord resembling a dominant seventh chord. It appears first in mixed Sagittal notation for just intonation, with the syntonic comma symbol at the E note and the septimal comma symbol at the Bb note.

In equal temperaments, we could, in theory, write it always like that, following guideline 1. But depending on the concrete equal division there will be harmonic equivalences that suggest certain simplifications.

@@ Line 1: / Line 1: @@
 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:hstraub|hstraub]] and made on <tt>2015-08-23 12:01:49 UTC</tt>.<br>
+: This revision was by author [[User:hstraub|hstraub]] and made on <tt>2015-08-23 12:33:03 UTC</tt>.<br>
-: The original revision id was <tt>557205817</tt>.<br>
+: The original revision id was <tt>557207111</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>
@@ Line 28: / Line 28: @@
 [[image:SagittalEDOExample.jpg]]
-What is displayed is the tetrad consisting of the overtones 4 to 7 (respectively, in equal temperaments, of their approximations), a chord resembling a dominant seventh chord. First appears in mixed Sagittal notation for just intonation, with the syntonic comma symbol at the E note and the septimal vomma symbol at the Bb note.
+What is displayed is the tetrad consisting of the overtones 4 to 7 (respectively, in equal temperaments, of their approximations), a chord resembling a dominant seventh chord. It appears first in mixed Sagittal notation for just intonation, with the syntonic comma symbol at the E note and the septimal comma symbol at the Bb note.
 In equal temperaments, we could, in theory, write it always like that, following guideline 1. But depending on the concrete equal division there will be harmonic equivalences that suggest certain simplifications.
@@ Line 69: / Line 69: @@
 &lt;!-- ws:start:WikiTextLocalImageRule:18:&amp;lt;img src=&amp;quot;/file/view/SagittalEDOExample.jpg/557089549/SagittalEDOExample.jpg&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="/file/view/SagittalEDOExample.jpg/557089549/SagittalEDOExample.jpg" alt="SagittalEDOExample.jpg" title="SagittalEDOExample.jpg" /&gt;&lt;!-- ws:end:WikiTextLocalImageRule:18 --&gt;&lt;br /&gt;
 &lt;br /&gt;
-What is displayed is the tetrad consisting of the overtones 4 to 7 (respectively, in equal temperaments, of their approximations), a chord resembling a dominant seventh chord. First appears in mixed Sagittal notation for just intonation, with the syntonic comma symbol at the E note and the septimal vomma symbol at the Bb note.&lt;br /&gt;
+What is displayed is the tetrad consisting of the overtones 4 to 7 (respectively, in equal temperaments, of their approximations), a chord resembling a dominant seventh chord. It appears first in mixed Sagittal notation for just intonation, with the syntonic comma symbol at the E note and the septimal comma symbol at the Bb note.&lt;br /&gt;
 &lt;br /&gt;
 In equal temperaments, we could, in theory, write it always like that, following guideline 1. But depending on the concrete equal division there will be harmonic equivalences that suggest certain simplifications.&lt;br /&gt;