User:Unque/29edo Counterpoint Treatise: Difference between revisions

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== Preface on Notation ==

A few notable features will be considered for this page. Intervals will be noted using extended diatonic notation (with ♯/♭ representing raising and lowering by a chromatic semitone, and ^/v representing raising or lowering by a diesis). Intervals included in diatonic modes will be noted with their diatonic names (where "major" and "minor" forms of an interval are respectively the wider and narrower interval that fall on a given degree), and intervals outside those modes will be denoted as "super-"/"supra-" and "sub-" forms of the closest diatonic interval. Where necessary, interval qualities may be abbreviated: m for minor, M for major, s for sub-, and S for super-/supra-.

A few notable notational features will be considered for this page. Intervals will be noted using extended diatonic notation (with ♯/♭ representing raising and lowering by a chromatic semitone, and ^/v representing raising or lowering by a diesis). Intervals included in diatonic modes will be noted with their diatonic names (where "major" and "minor" forms of an interval are respectively the wider and narrower interval that fall on a given degree), and intervals outside those modes will be denoted as "super-"/"supra-" and "sub-" forms of the closest diatonic interval. Where necessary, interval qualities may be abbreviated: m for minor, M for major, s for sub-, and S for super-/supra-. EDOstep notation (where n\29 represents n steps of 29edo, not to be confused with the JI interval n/29) may also be used for clarification when extended diatonic notation may provide difficulty to parse.

~~Sheet music examples, however~~, will ~~employ the fewest number of~~ ups ~~and~~ downs ~~necessary~~; for instance, C♭ will be favored over ~~^B, though in the key of C this note will still be called the submajor seventh rather than the diminished octave~~. ~~EDOstep notation (where n\29 represents n steps of 29edo, not to~~ be ~~confused with the JI interval n/29) may also be used for clarification~~ when ~~extended diatonic notation may provide difficulty~~ to parse.

Interval equivalences created by 29edo will be considered equivalent here. Where multiple spellings are available in notation, sharps/flats will be prioritized over ups/downs, as it makes clear the movement by chromatic semitones; for instance, C♭ will be favored over vB. Extended diatonic names will be favored over fifthwise names when possible, however, as these names are easier to parse when discussing interval sizes; for instance, "subminor third" will be favored over "doubly augmented unison" or "doubly diminished fourth," even when the interval is spelled as if it were a fourth minus two chromatic semitones.

~~Interval equivalences created by 29edo will be considered equivalent here: the~~ interval ~~at 6\29,~~ for instance, ~~will be noted as a~~ "subminor third" ~~even if spelled in sheet music as a~~ doubly augmented unison or a doubly diminished fourth, ~~because this name~~ is ~~more descriptive and easier to parse when considering an equal temperament sequence~~.

== General Principles ==

@@ Line 8: / Line 8: @@
 == Preface on Notation ==
-A few notable features will be considered for this page.  Intervals will be noted using extended diatonic notation (with ♯/♭ representing raising and lowering by a chromatic semitone, and ^/v representing raising or lowering by a diesis).  Intervals included in diatonic modes will be noted with their diatonic names (where "major" and "minor" forms of an interval are respectively the wider and narrower interval that fall on a given degree), and intervals outside those modes will be denoted as "super-"/"supra-" and "sub-" forms of the closest diatonic interval.  Where necessary, interval qualities may be abbreviated: m for minor, M for major, s for sub-, and S for super-/supra-.
+A few notable notational features will be considered for this page.  Intervals will be noted using extended diatonic notation (with ♯/♭ representing raising and lowering by a chromatic semitone, and ^/v representing raising or lowering by a diesis).  Intervals included in diatonic modes will be noted with their diatonic names (where "major" and "minor" forms of an interval are respectively the wider and narrower interval that fall on a given degree), and intervals outside those modes will be denoted as "super-"/"supra-" and "sub-" forms of the closest diatonic interval.  Where necessary, interval qualities may be abbreviated: m for minor, M for major, s for sub-, and S for super-/supra-.  EDOstep notation (where n\29 represents n steps of 29edo, not to be confused with the JI interval n/29) may also be used for clarification when extended diatonic notation may provide difficulty to parse.
-Sheet music examples, however, will employ the fewest number of ups and downs necessary; for instance, C♭ will be favored over ^B, though in the key of C this note will still be called the submajor seventh rather than the diminished octave.  EDOstep notation (where n\29 represents n steps of 29edo, not to be confused with the JI interval n/29) may also be used for clarification when extended diatonic notation may provide difficulty to parse.
+Interval equivalences created by 29edo will be considered equivalent here.  Where multiple spellings are available in notation, sharps/flats will be prioritized over ups/downs, as it makes clear the movement by chromatic semitones; for instance, C♭ will be favored over vB.  Extended diatonic names will be favored over fifthwise names when possible, however, as these names are easier to parse when discussing interval sizes; for instance, "subminor third" will be favored over "doubly augmented unison" or "doubly diminished fourth," even when the interval is spelled as if it were a fourth minus two chromatic semitones.
-Interval equivalences created by 29edo will be considered equivalent here: the interval at 6\29, for instance, will be noted as a "subminor third" even if spelled in sheet music as a doubly augmented unison or a doubly diminished fourth, because this name is more descriptive and easier to parse when considering an equal temperament sequence.
 == General Principles ==