Diamond-mos notation: Difference between revisions

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It is possible to change the edo and/or the mos pattern mid-score. Just write the same information you would write at the top of the score at the bar where the change happens.

=== Transposed notation ===

Some keys in are difficult to read and write, even in relatively small edos. For example, a piece in [[19edo]]'s diatonic key of G# major would require a key signature with six sharps and one double sharp. To solve this problem, it is possible to transpose the pitch of the entire score (or a section of a score) to improve readability. The transpose amount and direction is written at the top of the score. For example, writing "Transpose ↑1\19" would enable you to rewrite a 19edo G# major piece as G major. A transposition affects diatonic and non-diatonic notation equally, and J still always equals C.

== Staff ==

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== Key signatures ==

[[File:5L3s LsLLsLsL key signature.png|thumb|298x298px|The 5L 3s key signature mentioned in this section.]]

To change the tonic, we use the key signature of mos accidentals to indicate how many chroma-positive mos generators the tonic is above middle J = middle C. (A generator of a mos is called chroma-positive if the ''larger'' intervals in each generic interval class of the mos result from stacking the generator ''upwards''. For example, the chroma-positive generator of [[5L 2s]] is the fifth, because the major third is 4 fifths up and the minor third is 3 fifths down.)

Transposing the score's notation, as mentioned in the Staff section, can do much of the job of key signatures. For non-diatonic scores which do not change key, we recommend to transpose the score so that the tonic is written as J. This is an especially useful option if the key signature would be very complicated otherwise. For scores which do modulate, however, key signatures are important for showing the relationship between the keys, especially since modulations often mix tones from the two keys as the change happens. Note that transposing the whole score is still an option for scores which modulate. For example, when modulating from the key of J^ to L^, transposing so that the keys are written as J natural and L natural improves readability.

With that out of the way, this is how to make non-diatonic key signatures. To change the tonic, we use the key signature of mos accidentals to indicate how many chroma-positive mos generators the tonic is above middle J = middle C. (A generator of a mos is called chroma-positive if the ''larger'' intervals in each generic interval class of the mos result from stacking the generator ''upwards''. For example, the chroma-positive generator of [[5L 2s]] is the fifth, because the major third is 4 fifths up and the minor third is 3 fifths down.)

For example, if you want to notate the key of D in the 42442424 mode of [[5L 3s]] in [[26edo]]:

@@ Line 21: / Line 21: @@
 It is possible to change the edo and/or the mos pattern mid-score. Just write the same information you would write at the top of the score at the bar where the change happens.
+=== Transposed notation ===
+Some keys in are difficult to read and write, even in relatively small edos. For example, a piece in [[19edo]]'s diatonic key of G# major would require a key signature with six sharps and one double sharp. To solve this problem, it is possible to transpose the pitch of the entire score (or a section of a score) to improve readability. The transpose amount and direction is written at the top of the score. For example, writing "Transpose ↑1\19" would enable you to rewrite a 19edo G# major piece as G major. A transposition affects diatonic and non-diatonic notation equally, and J still always equals C.
 == Staff ==
@@ Line 53: / Line 56: @@
 == Key signatures ==
 [[File:5L3s LsLLsLsL key signature.png|thumb|298x298px|The 5L 3s key signature mentioned in this section.]]
-To change the tonic, we use the key signature of mos accidentals to indicate how many chroma-positive mos generators the tonic is above middle J = middle C. (A generator of a mos is called chroma-positive if the ''larger'' intervals in each generic interval class of the mos result from stacking the generator ''upwards''. For example, the chroma-positive generator of [[5L 2s]] is the fifth, because the major third is 4 fifths up and the minor third is 3 fifths down.)
+Transposing the score's notation, as mentioned in the Staff section, can do much of the job of key signatures. For non-diatonic scores which do not change key, we recommend to transpose the score so that the tonic is written as J. This is an especially useful option if the key signature would be very complicated otherwise. For scores which do modulate, however, key signatures are important for showing the relationship between the keys, especially since modulations often mix tones from the two keys as the change happens. Note that transposing the whole score is still an option for scores which modulate. For example, when modulating from the key of J^ to L^, transposing so that the keys are written as J natural and L natural improves readability.
+With that out of the way, this is how to make non-diatonic key signatures. To change the tonic, we use the key signature of mos accidentals to indicate how many chroma-positive mos generators the tonic is above middle J = middle C. (A generator of a mos is called chroma-positive if the ''larger'' intervals in each generic interval class of the mos result from stacking the generator ''upwards''. For example, the chroma-positive generator of [[5L 2s]] is the fifth, because the major third is 4 fifths up and the minor third is 3 fifths down.)
 For example, if you want to notate the key of D in the 42442424 mode of [[5L 3s]] in [[26edo]]: