User:CompactStar/Ed11/3 - Revision history

BudjarnLambeth at 12:06, 18 May 2025

2025-05-18T12:06:10Z

← Older revision		Revision as of 12:06, 18 May 2025
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			{{Editable user page}}
	The '''equal division of 11/3''' ('''ed11/3''') is a [[tuning]] obtained by dividing the [[11/3\|undecimal neutral fourteenth (11/3)]] into a number of [[equal]] steps. In [[flattone]] and flatter diatonic tunings, the major fourteenth will approximate this interval closest of the simple fourteenths.		The '''equal division of 11/3''' ('''ed11/3''') is a [[tuning]] obtained by dividing the [[11/3\|undecimal neutral fourteenth (11/3)]] into a number of [[equal]] steps. In [[flattone]] and flatter diatonic tunings, the major fourteenth will approximate this interval closest of the simple fourteenths.

BudjarnLambeth: BudjarnLambeth moved page Ed11/3 to User:CompactStar/Ed11/3

2025-05-18T12:06:00Z

BudjarnLambeth moved page Ed11/3 to User:CompactStar/Ed11/3

← Older revision	Revision as of 12:06, 18 May 2025
(No difference)

BudjarnLambeth: /* Properties */ adapted wording from ed16/15

2025-04-25T02:13:09Z

Properties: adapted wording from ed16/15

← Older revision		Revision as of 02:13, 25 April 2025
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	== Properties ==		== Properties ==
	Division of 11/3 into equal parts does not necessarily imply directly using this interval as an [[equivalence]]~~. The question of equivalence has not even been posed yet~~. Many, though not all, ~~of these~~ scales have a perceptually important false octave, with various degrees of accuracy.		Division of 11/3 into equal parts does not necessarily imply directly using this interval as an [[equivalence]]. Many, though not all, ed11/3 scales have a perceptually important [[Pseudo-octave\|false octave]], with various degrees of accuracy.

	~~Incidentally, one way~~ to ~~treat 11~~/3 ~~as an equivalence~~ is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to [[5/1]], here it takes five tritaves to get to [[15/11]] (tempering out the comma 6655/6561 in the 3.5.11 subgroup). This temperament yields 6-, 7-, 13-, and 20-note [[mos scale]]s.		One approach to ed11/3 tunings is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to [[5/1]], here it takes five tritaves to get to [[15/11]] (tempering out the comma 6655/6561 in the 3.5.11 subgroup). This temperament yields 6-, 7-, 13-, and 20-note [[mos scale]]s.

	[[Category:Ed11/3\| ]] <!-- main article -->		[[Category:Ed11/3\| ]] <!-- main article -->
	[[Category:Edonoi]]		[[Category:Edonoi]]
	[[Category:Lists of scales]]		[[Category:Lists of scales]]

FloraC: Recategorize

2024-05-19T09:15:32Z

Recategorize

← Older revision		Revision as of 09:15, 19 May 2024
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	Incidentally, one way to treat 11/3 as an equivalence is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to [[5/1]], here it takes five tritaves to get to [[15/11]] (tempering out the comma 6655/6561 in the 3.5.11 subgroup). This temperament yields 6-, 7-, 13-, and 20-note [[mos scale]]s.		Incidentally, one way to treat 11/3 as an equivalence is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to [[5/1]], here it takes five tritaves to get to [[15/11]] (tempering out the comma 6655/6561 in the 3.5.11 subgroup). This temperament yields 6-, 7-, 13-, and 20-note [[mos scale]]s.

			[[Category:Ed11/3\| ]] <!-- main article -->
	[[Category:Edonoi]]		[[Category:Edonoi]]
			[[Category:Lists of scales]]

FloraC: Rework the trivial statement into something more informative; improve linking and style

2024-05-19T08:23:27Z

Rework the trivial statement into something more informative; improve linking and style

← Older revision		Revision as of 08:23, 19 May 2024
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	== Properties ==		== Properties ==
	Division of 11/3 into equal parts ~~can be conceived of as to~~ directly ~~use~~ this interval as an equivalence~~, or not~~. The question of [[equivalence]] has not even been posed yet. Many, though not all, of these scales have a perceptually important ~~pseudo (~~false) octave, with various degrees of accuracy.		Division of 11/3 into equal parts does not necessarily imply directly using this interval as an [[equivalence]]. The question of equivalence has not even been posed yet. Many, though not all, of these scales have a perceptually important false octave, with various degrees of accuracy.

	Incidentally, one way to treat 11/3 as an equivalence is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to [[5/1]], here it takes five tritaves to get to [[15/11]] (tempering out the comma 6655/6561 in the ~~11/~~3.3.~~5 fractional~~ subgroup). This temperament yields 6, 7, 13, and 20 note ~~MOS~~.		Incidentally, one way to treat 11/3 as an equivalence is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to [[5/1]], here it takes five tritaves to get to [[15/11]] (tempering out the comma 6655/6561 in the 3.5.11 subgroup). This temperament yields 6-, 7-, 13-, and 20-note [[mos scale]]s.

	[[Category:Edonoi]]		[[Category:Edonoi]]

Moremajorthanmajor at 05:05, 18 May 2023

2023-05-18T05:05:13Z

← Older revision		Revision as of 05:05, 18 May 2023
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	The '''equal division of 11/3''' ('''ed11/3''') is a [[tuning]] obtained by dividing the [[11/3\|undecimal neutral fourteenth (11/3)]] into a number of [[equal]] steps.		The '''equal division of 11/3''' ('''ed11/3''') is a [[tuning]] obtained by dividing the [[11/3\|undecimal neutral fourteenth (11/3)]] into a number of [[equal]] steps. In [[flattone]] and flatter diatonic tunings, the major fourteenth will approximate this interval closest of the simple fourteenths.

	== Properties ==		== Properties ==

CompactStar at 09:25, 16 May 2023

2023-05-16T09:25:40Z

← Older revision		Revision as of 09:25, 16 May 2023
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	Incidentally, one way to treat 11/3 as an equivalence is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to [[5/1]], here it takes five tritaves to get to [[15/11]] (tempering out the comma 6655/6561 in the 11/3.3.5 fractional subgroup). This temperament yields 6, 7, 13, and 20 note MOS.		Incidentally, one way to treat 11/3 as an equivalence is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to [[5/1]], here it takes five tritaves to get to [[15/11]] (tempering out the comma 6655/6561 in the 11/3.3.5 fractional subgroup). This temperament yields 6, 7, 13, and 20 note MOS.

			[[Category:Edonoi]]

CompactStar at 09:24, 16 May 2023

2023-05-16T09:24:19Z

← Older revision		Revision as of 09:24, 16 May 2023
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	Division of 11/3 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of [[equivalence]] has not even been posed yet. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy.		Division of 11/3 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of [[equivalence]] has not even been posed yet. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy.

	Incidentally, one way to treat 11/3 as an equivalence is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to [[5/1]], here it takes five tritaves to get to [[15/11]] (tempering out the comma 6655/6561). This temperament yields 6, 7, 13, and 20 note MOS.		Incidentally, one way to treat 11/3 as an equivalence is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to [[5/1]], here it takes five tritaves to get to [[15/11]] (tempering out the comma 6655/6561 in the 11/3.3.5 fractional subgroup). This temperament yields 6, 7, 13, and 20 note MOS.

CompactStar: Created page with "The '''equal division of 11/3''' ('''ed11/3''') is a tuning obtained by dividing the undecimal neutral fourteenth (11/3) into a number of equal steps. == Pr..."

2023-05-16T09:22:27Z

Created page with "The '''equal division of 11/3''' ('''ed11/3''') is a tuning obtained by dividing the undecimal neutral fourteenth (11/3) into a number of equal steps. == Pr..."

New page

The '''equal division of 11/3''' ('''ed11/3''') is a [[tuning]] obtained by dividing the [[11/3|undecimal neutral fourteenth (11/3)]] into a number of [[equal]] steps.

== Properties ==
Division of 11/3 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of [[equivalence]] has not even been posed yet. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy.

Incidentally, one way to treat 11/3 as an equivalence is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to [[5/1]], here it takes five tritaves to get to [[15/11]] (tempering out the comma 6655/6561). This temperament yields 6, 7, 13, and 20 note MOS.