22edt - Revision history

Lucius Chiaraviglio: /* Music */ Add Ray Perlner's ''7/8 Fugue in 22EDT Mintaka[7] LLsLLLs "Macro-Ionian"'' (2026); fix formatting of previous entry

2026-06-19T20:09:31Z

Music: Add Ray Perlner's ''7/8 Fugue in 22EDT Mintaka[7] LLsLLLs "Macro-Ionian"'' (2026); fix formatting of previous entry

← Older revision		Revision as of 20:09, 19 June 2026
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	; [[Ray Perlner]]		; [[Ray Perlner]]
	* [https://www.youtube.com/watch?v=EWy0y_WsVNk ''Fugue in 22EDT Mintaka[7] sLLLsLL "Macro-Phrygian"''] (2025)		* [https://www.youtube.com/watch?v=EWy0y_WsVNk ''<nowiki>Fugue in 22EDT Mintaka[7] sLLLsLL "Macro-Phrygian"</nowiki>''] (2025)
			* [https://www.youtube.com/watch?v=edyA0QN-Zmc ''<nowiki>7/8 Fugue in 22EDT Mintaka[7] LLsLLLs "Macro-Ionian"</nowiki>''] (2026)

	; [[Chris Vaisvil]]		; [[Chris Vaisvil]]

BudjarnLambeth: add 1

2025-11-04T20:53:03Z

add 1

← Older revision		Revision as of 20:53, 4 November 2025
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	Like [[11edt]], both the [[octave]] and [[small whole tone]] ([[10/9]]) are about 10c off (sharp and flat respectively) dissonant but recognizable. Akin to [[16edt]] with [[Blackwood]], admitting the octave induces an interpretation into a tritave-based version of [[Whitewood]] temperament, therefore allowing the system to function as an octave stretch of [[14edo]]. However, it can just as well be treated as a pure no-twos system, which is the main interpretation used in the below article.		Like [[11edt]], both the [[octave]] and [[small whole tone]] ([[10/9]]) are about 10c off (sharp and flat respectively) dissonant but recognizable. Akin to [[16edt]] with [[Blackwood]], admitting the octave induces an interpretation into a tritave-based version of [[Whitewood]] temperament, therefore allowing the system to function as an octave stretch of [[14edo]]. However, it can just as well be treated as a pure no-twos system, which is the main interpretation used in the below article.

			== Harmonics ==
	22edt has good approximations of the 7th, 11th, 19th and 20th harmonics, being better for its size in the 3.7.11 subgroup than even [[13edt]] is in 3.5.7. In this subgroup, it tempers out the commas [[1331/1323]] and [[387420489/386683451]], with the former comma allowing a hard [[5L 2s (3/1-equivalent)\|5L 2s]] (macrodiatonic) scale generated by [[11/7]], two of which are equated to [[27/11]] and three of which are equated to [[9/7]] up a tritave. This [[9/7]] can also serve as the generator for a [[4L 5s (3/1-equivalent)\|4L 5s]] (BPS Lambda) scale, supporting [[Bohlen-Pierce-Stearns]] harmony by tempering out [[245/243]], although its representation of the 3.5.7 subgroup is less accurate than that of 13edt, and tempered in the wrong direction relative to 13edt for ideal BPS.		22edt has good approximations of the 7th, 11th, 19th and 20th harmonics, being better for its size in the 3.7.11 subgroup than even [[13edt]] is in 3.5.7. In this subgroup, it tempers out the commas [[1331/1323]] and [[387420489/386683451]], with the former comma allowing a hard [[5L 2s (3/1-equivalent)\|5L 2s]] (macrodiatonic) scale generated by [[11/7]], two of which are equated to [[27/11]] and three of which are equated to [[9/7]] up a tritave. This [[9/7]] can also serve as the generator for a [[4L 5s (3/1-equivalent)\|4L 5s]] (BPS Lambda) scale, supporting [[Bohlen-Pierce-Stearns]] harmony by tempering out [[245/243]], although its representation of the 3.5.7 subgroup is less accurate than that of 13edt, and tempered in the wrong direction relative to 13edt for ideal BPS.

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	== Intervals ==		== Intervals ==

	The notation schemes below are based on the BPS-Lambda enneatonic scale presented in the symmetric (sLsLsLsLs, Cassiopeian) mode in J, and the Mintaka macrodiatonic scale presented in the macro-Phrygian (sLLLsLL) mode in E.		The notation schemes below are based on the BPS-Lambda enneatonic scale presented in the symmetric (sLsLsLsLs, Cassiopeian) mode in J, and the Mintaka macrodiatonic scale presented in the macro-Phrygian (sLLLsLL) mode in E.

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	== Music ==		== Music ==
	; [[Peter Kosmorsky]]		; [[Peter Kosmorsky]]
	* [http://www.archive.org/details/TuneIn22Edt Tune in 22edt] (2011)		* [http://www.archive.org/details/TuneIn22Edt ''Tune in 22edt''] (2011)

			; [[Merct]]
			* [https://soundcloud.com/merct/dysfunctional?in=merct/sets/breathe ''dysfunctional'' from the album ''breathe''] (2025)

	; [[Ray Perlner]]		; [[Ray Perlner]]
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	; [[Chris Vaisvil]]		; [[Chris Vaisvil]]
	* [http://micro.soonlabel.com/22-edt/daily20111206-22edt-improv.mp3 22 edt piano improvisation] {{dead link}}		* [http://micro.soonlabel.com/22-edt/daily20111206-22edt-improv.mp3 ''22 edt piano improvisation''] {{dead link}}

	[[Category:Nonoctave]]		[[Category:Nonoctave]]
	[[Category:Listen]]		[[Category:Listen]]

Fredg999 category edits: Removing from Category:Edt using Cat-a-lot

2025-07-31T15:31:28Z

Removing from Category:Edt using Cat-a-lot

← Older revision		Revision as of 15:31, 31 July 2025
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	* [http://micro.soonlabel.com/22-edt/daily20111206-22edt-improv.mp3 22 edt piano improvisation] {{dead link}}		* [http://micro.soonlabel.com/22-edt/daily20111206-22edt-improv.mp3 22 edt piano improvisation] {{dead link}}

	~~[[Category:Edt]]~~
	[[Category:Nonoctave]]		[[Category:Nonoctave]]
	[[Category:Listen]]		[[Category:Listen]]

Lucius Chiaraviglio: /* Compositions */ Reformat to Music section like most EDO pages have, and add ''Fugue in 22EDT Mintaka[7] sLLLsLL "Macro-Phrygian"'' (2025)

2025-06-30T07:30:11Z

Compositions: Reformat to Music section like most EDO pages have, and add ''Fugue in 22EDT Mintaka[7] sLLLsLL "Macro-Phrygian"'' (2025)

← Older revision		Revision as of 07:30, 30 June 2025
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	A short composition by [[Wensik]], based on the 7:9:11 chord and its inversion, 63:77:99.		A short composition by [[Wensik]], based on the 7:9:11 chord and its inversion, 63:77:99.

	== ~~Compositions~~ ==		== Music ==
	* [http://www.archive.org/details/TuneIn22Edt Tune in 22edt] by [[~~Peter Kosmorsky~~]]		; [[Peter Kosmorsky]]
	* [http://micro.soonlabel.com/22-edt/daily20111206-22edt-improv.mp3 22 edt piano improvisation] ~~by [[Chris Vaisvil]]~~		* [http://www.archive.org/details/TuneIn22Edt Tune in 22edt] (2011)

			; [[Ray Perlner]]
			* [https://www.youtube.com/watch?v=EWy0y_WsVNk ''Fugue in 22EDT Mintaka[7] sLLLsLL "Macro-Phrygian"''] (2025)

			; [[Chris Vaisvil]]
			* [http://micro.soonlabel.com/22-edt/daily20111206-22edt-improv.mp3 22 edt piano improvisation] {{dead link}}

	[[Category:Edt]]		[[Category:Edt]]
	[[Category:Nonoctave]]		[[Category:Nonoctave]]
	[[Category:Listen]]		[[Category:Listen]]

BudjarnLambeth: /* Audio examples */

2024-09-23T08:10:48Z

Audio examples

← Older revision		Revision as of 08:10, 23 September 2024
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	[[File:22ed3-1.mp3]]		[[File:22ed3-1.mp3]]

	short composition by [Wensik], based on the 7:9:11 chord and its inversion, 63:77:99.		A short composition by [[Wensik]], based on the 7:9:11 chord and its inversion, 63:77:99.

	== Compositions ==		== Compositions ==

BudjarnLambeth: /* Audio examples */

2024-09-23T08:10:36Z

Audio examples

← Older revision		Revision as of 08:10, 23 September 2024
Line 186:		Line 186:
	[[File:22ed3-1.mp3]]		[[File:22ed3-1.mp3]]

	short composition by Wensik, based on the 7:9:11 chord and its inversion, 63:77:99.		short composition by [Wensik], based on the 7:9:11 chord and its inversion, 63:77:99.

	== Compositions ==		== Compositions ==

BudjarnLambeth: /* Compositions */

2024-09-23T08:10:24Z

Compositions

← Older revision		Revision as of 08:10, 23 September 2024
Line 189:		Line 189:

	== Compositions ==		== Compositions ==
	* http://www.archive.org/details/TuneIn22Edt by [[Peter Kosmorsky]]		* [http://www.archive.org/details/TuneIn22Edt Tune in 22edt] by [[Peter Kosmorsky]]
	* [http://micro.soonlabel.com/22-edt/daily20111206-22edt-improv.mp3 22 edt piano improvisation] by [[Chris Vaisvil]]		* [http://micro.soonlabel.com/22-edt/daily20111206-22edt-improv.mp3 22 edt piano improvisation] by [[Chris Vaisvil]]

BudjarnLambeth: Changed ovalpatine to mintaka

2024-09-23T08:02:07Z

Changed ovalpatine to mintaka

← Older revision		Revision as of 08:02, 23 September 2024
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	{{Infobox ET}}		{{Infobox ET}}
	{{ED intro}} It supports [[~~ovalpatine~~]] temperament.		{{ED intro}} It supports [[mintaka]] temperament.

	Like [[11edt]], both the [[octave]] and [[small whole tone]] ([[10/9]]) are about 10c off (sharp and flat respectively) dissonant but recognizable. Akin to [[16edt]] with [[Blackwood]], admitting the octave induces an interpretation into a tritave-based version of [[Whitewood]] temperament, therefore allowing the system to function as an octave stretch of [[14edo]]. However, it can just as well be treated as a pure no-twos system, which is the main interpretation used in the below article.		Like [[11edt]], both the [[octave]] and [[small whole tone]] ([[10/9]]) are about 10c off (sharp and flat respectively) dissonant but recognizable. Akin to [[16edt]] with [[Blackwood]], admitting the octave induces an interpretation into a tritave-based version of [[Whitewood]] temperament, therefore allowing the system to function as an octave stretch of [[14edo]]. However, it can just as well be treated as a pure no-twos system, which is the main interpretation used in the below article.

BudjarnLambeth: Add link to orphan page

2024-09-19T03:31:04Z

Add link to orphan page

← Older revision		Revision as of 03:31, 19 September 2024
Line 1:		Line 1:
	{{Infobox ET}}		{{Infobox ET}}
	{{ED intro}}		{{ED intro}} It supports [[ovalpatine]] temperament.

	Like [[11edt]], both the [[octave]] and [[small whole tone]] ([[10/9]]) are about 10c off (sharp and flat respectively) dissonant but recognizable. Akin to [[16edt]] with [[Blackwood]], admitting the octave induces an interpretation into a tritave-based version of [[Whitewood]] temperament, therefore allowing the system to function as an octave stretch of [[14edo]]. However, it can just as well be treated as a pure no-twos system, which is the main interpretation used in the below article.		Like [[11edt]], both the [[octave]] and [[small whole tone]] ([[10/9]]) are about 10c off (sharp and flat respectively) dissonant but recognizable. Akin to [[16edt]] with [[Blackwood]], admitting the octave induces an interpretation into a tritave-based version of [[Whitewood]] temperament, therefore allowing the system to function as an octave stretch of [[14edo]]. However, it can just as well be treated as a pure no-twos system, which is the main interpretation used in the below article.

Lériendil at 14:01, 18 September 2024

2024-09-18T14:01:06Z

← Older revision		Revision as of 14:01, 18 September 2024
Line 4:		Line 4:
	Like [[11edt]], both the [[octave]] and [[small whole tone]] ([[10/9]]) are about 10c off (sharp and flat respectively) dissonant but recognizable. Akin to [[16edt]] with [[Blackwood]], admitting the octave induces an interpretation into a tritave-based version of [[Whitewood]] temperament, therefore allowing the system to function as an octave stretch of [[14edo]]. However, it can just as well be treated as a pure no-twos system, which is the main interpretation used in the below article.		Like [[11edt]], both the [[octave]] and [[small whole tone]] ([[10/9]]) are about 10c off (sharp and flat respectively) dissonant but recognizable. Akin to [[16edt]] with [[Blackwood]], admitting the octave induces an interpretation into a tritave-based version of [[Whitewood]] temperament, therefore allowing the system to function as an octave stretch of [[14edo]]. However, it can just as well be treated as a pure no-twos system, which is the main interpretation used in the below article.

	22edt has good approximations of the 7th, 11th, 19th and 20th harmonics, being better for its size in the 3.7.11 subgroup than even [[13edt]] is in 3.5.7. In this subgroup, it tempers out the commas [[1331/1323]] and [[387420489/386683451]], with the former comma allowing a hard [[5L 2s (3/1-equivalent)\|5L 2s]] (macrodiatonic) scale generated by [[11/7]], two of which are equated to [[27/11]] and three of which are equated to [[9/7]] up a tritave. This [[9/7]] can also serve as the generator for a [[4L 5s (3/1-equivalent)\|4L 5s]] (BPS Lambda) scale, supporting [[Bohlen-Pierce-Stearns]] harmony by tempering out [[245/243]], although its representation of the 3.5.7 subgroup is less accurate than that of 13edt, and tempered in the wrong direction for ideal BPS.		22edt has good approximations of the 7th, 11th, 19th and 20th harmonics, being better for its size in the 3.7.11 subgroup than even [[13edt]] is in 3.5.7. In this subgroup, it tempers out the commas [[1331/1323]] and [[387420489/386683451]], with the former comma allowing a hard [[5L 2s (3/1-equivalent)\|5L 2s]] (macrodiatonic) scale generated by [[11/7]], two of which are equated to [[27/11]] and three of which are equated to [[9/7]] up a tritave. This [[9/7]] can also serve as the generator for a [[4L 5s (3/1-equivalent)\|4L 5s]] (BPS Lambda) scale, supporting [[Bohlen-Pierce-Stearns]] harmony by tempering out [[245/243]], although its representation of the 3.5.7 subgroup is less accurate than that of 13edt, and tempered in the wrong direction relative to 13edt for ideal BPS.

	{{Harmonics in equal\|22\|3\|1\|intervals=prime\|columns=15}}		{{Harmonics in equal\|22\|3\|1\|intervals=prime\|columns=15}}