Extended meantone notation: Difference between revisions

Line 18:

== Generalizing accidentals ==

Most musicians are familiar with single and double sharps and flats—these denote raising and lowering by one or two chromatic semitones, respectively. In a general meantone tuning, there are two additional intervals: the diesis, which is the difference between adjacent accidentals (e.g. C♯–D♭ and D♯–E♭),<ref group="note" name="diesis_note" /> and the kleisma, which is the amount by which B♯ exceeds C♭ and E♯ exceeds F♭ (that is, C♭–B♯ and F♭–E♯).

Most musicians are familiar with single and double sharps and flats—these denote raising and lowering by one or two chromatic semitones, respectively. In a general meantone tuning, there are two additional intervals: the diesis, which is the difference between adjacent accidentals (e.g. C♯–D♭ and D♯–E♭),<ref group="note" name="diesis_note">Having C♯ and D♭ be enharmonically equivalent is what most musicians would expect, but this is only true in equal temperament tunings where the number of notes is a multiple of 12. In most tuning systems, there are no enharmonic equivalents involving only sharps and flats.</ref> and the kleisma, which is the amount by which B♯ exceeds C♭ and E♯ exceeds F♭ (that is, C♭–B♯ and F♭–E♯).

{| class="wikitable center-all"

Line 75:

| 0

| 1

| Chromatic semitone is equal to kleisma, diesis is tempered out<ref group="note" name="diesis_note">Having C♯ and D♭ be enharmonically equivalent is what most musicians would expect, but this is only true in equal temperament tunings where the number of notes is a multiple of 12. In most tuning systems, there are no enharmonic equivalents involving only single sharps and flats.</~~ref~~>

| Chromatic semitone is equal to kleisma, diesis is tempered out<ref group="note" name="diesis_note" />

|-

| [[19edo|19]]

@@ Line 18: / Line 18: @@
 == Generalizing accidentals ==
-Most musicians are familiar with single and double sharps and flats&mdash;these denote raising and lowering by one or two chromatic semitones, respectively. In a general meantone tuning, there are two additional intervals: the diesis, which is the difference between adjacent accidentals (e.g. C♯&ndash;D♭ and D♯&ndash;E♭),<ref group="note" name="diesis_note" /> and the kleisma, which is the amount by which B♯ exceeds C♭ and E♯ exceeds F♭ (that is, C♭&ndash;B♯ and F♭&ndash;E♯).
+Most musicians are familiar with single and double sharps and flats&mdash;these denote raising and lowering by one or two chromatic semitones, respectively. In a general meantone tuning, there are two additional intervals: the diesis, which is the difference between adjacent accidentals (e.g. C♯&ndash;D♭ and D♯&ndash;E♭),<ref group="note" name="diesis_note">Having C♯ and D♭ be enharmonically equivalent is what most musicians would expect, but this is only true in equal temperament tunings where the number of notes is a multiple of 12. In most tuning systems, there are no enharmonic equivalents involving only sharps and flats.</ref> and the kleisma, which is the amount by which B♯ exceeds C♭ and E♯ exceeds F♭ (that is, C♭&ndash;B♯ and F♭&ndash;E♯).
 {| class="wikitable center-all"
@@ Line 75: / Line 75: @@
 | 0
 | 1
-| Chromatic semitone is equal to kleisma, diesis is tempered out<ref group="note" name="diesis_note">Having C♯ and D♭ be enharmonically equivalent is what most musicians would expect, but this is only true in equal temperament tunings where the number of notes is a multiple of 12. In most tuning systems, there are no enharmonic equivalents involving only single sharps and flats.</ref>
+| Chromatic semitone is equal to kleisma, diesis is tempered out<ref group="note" name="diesis_note" />
 |-
 | [[19edo|19]]