User:Zhenlige/Chromatic notation
This page introduces a proposed notation system centering the 5L 7s chromatic scale. This system is suitable for temperaments with consonant intervals far away in the chain of fifths, such as schismatic. Adding more naturals is usually unnecessary, since the 12-comma is much smaller than the limma in JI. For the meantone chromatic scale 7L 5s, there are two approches to use this system, in anology to using the standard notation system for the antidiatonic scale.
Intervals
The names according to quasi-diatonic MOS notation are not intuitional, so different names are given here. “Sem” stands for “semitone”. 12edo diatonic interval names can also be used for representing degrees, with A4 and d5 merged into “tritone”.
| Interval | Abbrev. | Steps | 29edo tuning (steps) |
Equivalent diatonic interval |
Approximate ratios | |||
|---|---|---|---|---|---|---|---|---|
| Degree | Quality | L | s | schismatic | additional in garibaldi | |||
| Unison Zero-tone Zero-sem |
Perfect | PU / P0s | 0 | 0 | 0 | P1 | 1/1 | |
| Semitone Sem / Monosem / 1-sem |
Minor | ms / m1s | 0 | 1 | 2 | m2 | 135/128, 256/243 | 21/20 |
| Major | Ms / M1s | 1 | 0 | 3 | A1 | 16/15 | 15/14 | |
| Tone Monotone / 1-tone Disem / 2-sem |
Minor | mt / m1t / m2s | 0 | 2 | 4 | d3 | 10/9 | |
| Major | Mt / M1t / M2s | 1 | 1 | 5 | M2 | 9/8 | ||
| Sesquitone Trisem / 3-sem |
Minor | mS / m3s | 1 | 2 | 7 | m3 | 32/27 | |
| Major | MS / M3s | 2 | 1 | 8 | A2 | 6/5 | ||
| Ditone / 2-tone Tetrasem / 4-sem |
Minor | m2t / m4s | 1 | 3 | 9 | d4 | 5/4 | 56/45 |
| Major | M2t / M4s | 2 | 2 | 10 | M3 | 81/64 | 80/63, 63/50 | |
| Fourth Pentasem / 5-sem |
Perfect | Pf / P5s | 2 | 3 | 12 | P4 | 4/3 | |
| Augmented | Af / A5s | 3 | 2 | 13 | A3 | 27/20 | ||
| Tritone / 3-tone Hexasem / 6-sem |
Minor | m3t / m6s | 2 | 4 | 14 | d5 | 45/32 | 7/5 |
| Major | M3t / M6s | 3 | 3 | 15 | A4 | 64/45 | 10/7 | |
| Fifth Heptasem / 7-sem |
Diminished | dF / d7s | 2 | 5 | 16 | d6 | 40/27 | |
| Perfect | PF / P7s | 3 | 4 | 17 | P5 | 3/2 | ||
| Tetratone / 4-tone Octasem / 8-sem |
Minor | m4t / m8s | 3 | 5 | 19 | m6 | 128/81 | 63/40, 100/63 |
| Major | M4t / M8s | 4 | 4 | 20 | A5 | 8/5 | 45/28 | |
| Nonasem / 9-sem | Minor | m9s | 3 | 6 | 21 | d7 | 5/3 | |
| Major | M9s | 4 | 5 | 22 | M6 | 27/16 | ||
| Pentatone / 5-tone Decasem / 10-sem |
Minor | m5t / m10s | 4 | 6 | 24 | m7 | 16/9 | |
| Major | M5t / M10s | 5 | 5 | 25 | A6 | 9/5 | ||
| Undecasem / 11-sem | Minor | m11s | 4 | 7 | 26 | d8 | 15/8 | 28/15 |
| Major | M11s | 5 | 6 | 27 | M7 | 243/128, 256/135 | 40/21 | |
| Octave / Ditave / Period Hexatone / 6-tone Dodecasem / 12-sem |
Perfect | PO / P6t / P12s | 5 | 7 | 29 | P8 | 2/1 | |
Note names
Latin letters ABCDEFG and Greek letters αβγδε are used. Latin letters represent the same notes as diatonic. Each Greek letter represents the note a diatonic chroma below the note marked with the corresponding Latin letter. Ups and downs are used for altering 12-commas.
| Chromatic | Diatonic |
|---|---|
| D | D |
| ε | E♭ |
| ↑ε | D♯ |
| E | E |
| F | F |
| γ | G♭ |
| ↑γ | F♯ |
| G | G |
| α | A♭ |
| ↑α | G♯ |
| A | A |
| β | B♭ |
| ↑β | A♯ |
| B | B |
| C | C |
| δ | D♭ |
| ↑δ | C♯ |
| D | D |
Staves
A 9-lined staff is used. To improve readability, the lines alter between thin and thick. The first and last lines are thick. Only C-clef is used. C is always on a thick line. For the standard clef, the notes on the lines are EγαβCDEγα.