Quasi-diatonic MOS notation: Difference between revisions
No edit summary |
No edit summary |
||
| Line 20: | Line 20: | ||
== Staves == | == Staves == | ||
The number of staff lines is equal to half the number of scale steps plus 1 (rounding up). So a scale with 8 notes would have 5 lines, a scale with 9 notes would have 6 lines, and a scale of 11 notes would have 7 lines. A3 is always on a staff line. | The number of staff lines is equal to half the number of scale steps plus 1 (rounding up). So a scale with 8 notes would have 5 lines, a scale with 9 notes would have 6 lines, and a scale of 11 notes would have 7 lines. A3 is always on a staff line. | ||
New clefs need to be introduced to refer to arbitrary notes, in order to bridge the gap between the A clef (introduced specifically for this notation) and the C, F, and G clefs (shared with diatonic) | New clefs need to be introduced to refer to arbitrary notes, in order to bridge the gap between the A clef (introduced specifically for this notation) and the C, F, and G clefs (shared with diatonic), and allow for the convenient and analogous notation of a scale with any number of notes. | ||
A clef refers to the closest note on a staff line with that name to A3 (an equave below A4). For example, in diatonic, the G clef refers to the G above middle C, because that's the closest G staff line to A3. Similarly, the F clef refers to the F below middle C, because that's the closest F staff line to A3.(So of course, a clef is only valid where such a staff line exists, i.e. in an octatonic scale where all the staff lines are A, C, E, and G, an F clef would not be valid. A J clef would also not be valid, because there is no note named J.) | A clef refers to the closest note on a staff line with that name to A3 (an equave below A4). For example, in diatonic, the G clef refers to the G above middle C, because that's the closest G staff line to A3. Similarly, the F clef refers to the F below middle C, because that's the closest F staff line to A3.(So of course, a clef is only valid where such a staff line exists, i.e. in an octatonic scale where all the staff lines are A, C, E, and G, an F clef would not be valid. A J clef would also not be valid, because there is no note named J.) | ||
| Line 32: | Line 29: | ||
[[File:An example of VGQDMN that hopefully uses the right scale this time.png|thumb|An example of VGQDMN that hopefully uses the right scale this time]] | [[File:An example of VGQDMN that hopefully uses the right scale this time.png|thumb|An example of VGQDMN that hopefully uses the right scale this time]] | ||
The MOS is always specified with text above the beginning of the score (for example, "oneirotonic", "5L3s", or "LLsLLsLs"). | The MOS is always specified with text above the beginning of the score (for example, "oneirotonic", "5L3s", or "LLsLLsLs"). | ||
8va markings work as normal, though the number is changed to match the number of steps in the equave, i.e. 9na for oneirotonic, or 10ma for gramitonic. It is read as the Italian ordinal for the given number, and the last two letters also come from that (with the ending changed to -a if necessary). (This follows from the use of 15ma in Western music.) It can be called an equava in general. | 8va markings work as normal, though the number is changed to match the number of steps in the equave, i.e. 9na for oneirotonic, or 10ma for gramitonic. It is read as the Italian ordinal for the given number, and the last two letters also come from that (with the ending changed to -a if necessary). (This follows from the use of 15ma in Western music.) It can be called an equava in general. | ||
| Line 145: | Line 142: | ||
=== Optimal clefs === | === Optimal clefs === | ||
[[File:Clefs.png|thumb|1035x1035px|All clefs used in VGQDMN. They all look somewhat like their corresponding letters. All these clefs are on the middle staff line. H and J clefs are from Bohlen-Pierce notation.]] | |||
This is the table of optimal clef layouts to be analogous to the treble and bass clef for scales with different sizes. This assumes that A3 is the top line of the bass clef. Preferably, the second line from the bottom of the staff is used as the treble clef, and the second line from the top is used as the bass clef, except when that would cause a clef with an equave up/down which could be avoided by using a different line for the clef indicator. | This is the table of optimal clef layouts to be analogous to the treble and bass clef for scales with different sizes. This assumes that A3 is the top line of the bass clef. Preferably, the second line from the bottom of the staff is used as the treble clef, and the second line from the top is used as the bass clef, except when that would cause a clef with an equave up/down which could be avoided by using a different line for the clef indicator. | ||
{| class="wikitable" | {| class="wikitable" | ||