Diamond-mos notation: Difference between revisions

Line 66:

== Edo superset notation ==

It’s often a good idea to notate small edos as subsets of larger edos. For example, notating 13edo as a subset of 26edo allows you to use ABC notation. To do this for a diamond-mos score, write “13edo, superset 26edo” at the top of the score. For the purposes of notation, the superset edo is the edo the score is in. However, you can’t stray outside the subset edo, because that wouldn’t make sense.

~~Using edo notation to represent non-edo tunings~~

Diamond-mos notation is based on an edo, but that doesn’t mean it can only represent music in edos. The tones of an edo in diamond-mos can be retuned to any scale of the same size. After the edo, write “Retune [scale]” at the top of the score, with the scale’s tones written out explicitly.

~~If you don’t use a tone of the edo at all in the score, you can write “X” in your scale, e.g. “7edo, retune 24:26:X:32:36:39:43:48”.~~

Recommended supersets for nondiatonic edos (that are also not multiples of 5 or 7):

Line 80:

Line 74:

* [[16edo]]: [[48edo]]

* [[23edo]]: [[46edo]]

== Using edo notation to represent non-edo tunings ==

Diamond-mos notation is based on an edo, but that doesn’t mean it can only represent music in edos. The tones of an edo in diamond-mos can be retuned to any scale of the same size. After the edo, write “Retune [scale]” at the top of the score, with the scale’s tones written out explicitly.

If you don’t use a tone of the edo at all in the score, you can write “X” in your scale, e.g. “7edo, retune 24:26:X:32:36:39:43:48”.

== Sightreading ==

@@ Line 66: / Line 66: @@
 == Edo superset notation ==
 It’s often a good idea to notate small edos as subsets of larger edos. For example, notating 13edo as a subset of 26edo allows you to use ABC notation. To do this for a diamond-mos score, write “13edo, superset 26edo” at the top of the score. For the purposes of notation, the superset edo is the edo the score is in. However, you can’t stray outside the subset edo, because that wouldn’t make sense.
-Using edo notation to represent non-edo tunings
-Diamond-mos notation is based on an edo, but that doesn’t mean it can only represent music in edos. The tones of an edo in diamond-mos can be retuned to any scale of the same size. After the edo, write “Retune [scale]” at the top of the score, with the scale’s tones written out explicitly.
-If you don’t use a tone of the edo at all in the score, you can write “X” in your scale, e.g. “7edo, retune 24:26:X:32:36:39:43:48”.
 Recommended supersets for nondiatonic edos (that are also not multiples of 5 or 7):
@@ Line 80: / Line 74: @@
 * [[16edo]]: [[48edo]]
 * [[23edo]]: [[46edo]]
+== Using edo notation to represent non-edo tunings ==
+Diamond-mos notation is based on an edo, but that doesn’t mean it can only represent music in edos. The tones of an edo in diamond-mos can be retuned to any scale of the same size. After the edo, write “Retune [scale]” at the top of the score, with the scale’s tones written out explicitly.
+If you don’t use a tone of the edo at all in the score, you can write “X” in your scale, e.g. “7edo, retune 24:26:X:32:36:39:43:48”.
 == Sightreading ==