User:Moremajorthanmajor/Ed13 - Revision history

BudjarnLambeth: BudjarnLambeth moved page Ed13 to User:Moremajorthanmajor/Ed13

2025-05-19T13:40:32Z

BudjarnLambeth moved page Ed13 to User:Moremajorthanmajor/Ed13

← Older revision	Revision as of 13:40, 19 May 2025
(No difference)

BudjarnLambeth: /* Individual pages for ED13s */ 7ed13

2025-01-08T08:36:33Z

Individual pages for ED13s: 7ed13

← Older revision		Revision as of 08:36, 8 January 2025
Line 88:		Line 88:

	== Individual pages for ED13s ==		== Individual pages for ED13s ==
			* [[7ed13]]
	* [[10ed13]] - [[Sensi]] generator		* [[10ed13]] - [[Sensi]] generator
	* [[14ed13]] - [[Kleismic]] generator		* [[14ed13]] - [[Kleismic]] generator

BudjarnLambeth: 13/1 to 13/1

2023-07-06T02:26:10Z

13/1 to 13/1

← Older revision		Revision as of 02:26, 6 July 2023
Line 1:		Line 1:
	'''Ed13''' means '''Division of the Thirteenth Harmonic (13/1) into n equal parts'''.		'''Ed13''' means '''Division of the Thirteenth Harmonic ([[13/1]]) into n equal parts'''.

	= Division of the thirteenth harmonic into n equal parts =		= Division of the thirteenth harmonic into n equal parts =

Xenllium: /* Division of the thirteenth harmonic into n equal parts */

2023-06-18T06:03:55Z

Division of the thirteenth harmonic into n equal parts

← Older revision		Revision as of 06:03, 18 June 2023
Line 9:		Line 9:
	!M2		!M2
	!m3		!m3
			!M3
	!P4		!P4
	!A4		!A4
Line 26:		Line 27:
	d12		d12
	\|-		\|-
	~~\| rowspan="2"~~ \|1/1		\| 1/1
	\| ~~rowspan="2" \|~~15/14		\| 16/15 <br>15/14
	\| ~~rowspan="2" \|~~8/7		\| 10/9 <br>9/8 <br>8/7
	\| ~~rowspan="2" \|~~6/5		\| 7/6 <br>6/5
	\| ~~rowspan="2"~~ \|4/3		\| 5/4
	~~\| rowspan="2"~~ \|7/5		\| 4/3
	~~\| rowspan="2"~~ \|3/2		\| 7/5
	~~\| rowspan="2"~~ \|8/5		\| 3/2
	~~\| rowspan="2"~~ \|5/3		\| 8/5
	~~\| rowspan="2"~~ \|7/2		\| 5/3
	\|''11/6''		\| 7/4 <br>9/5
	\| ~~rowspan="~~2" \|2/1		\| ''11/6'' <br>''13/7'' <br>15/8
	\|''11/5''		\| 2/1
	~~\| rowspan="2" \|~~9/4		\| 15/7 <br>''13/6''
	~~\| rowspan="2"~~ \|7/3		\| ''11/5'' <br>9/4
	~~\| rowspan="2"~~ \|5/2		\| 7/3 <br>12/5
	~~\|8/3~~		\| 5/2 <br>''13/5''
	~~\| rowspan="2" \|14~~/5		\| 8/3 <br>''11/4''
	\|-		\| 14/5 <br>17/6
	~~\|15/~~8
	~~\|15~~/7
	\|''11/4''
	\|-		\|-
	!P12		!P12
Line 63:		Line 61:
	d19		d19
	!P19		!P19
	!''m20''		!m20
	!''M20''		!M20
	!m21		!m21
	!M21		!M21
	!~~P22~~		! colspan="2" \|P22
	\|-
	~~\| rowspan="2" \|3/1~~
	~~\|''13/4''~~
	~~\| rowspan="2" \|10/3~~
	~~\| rowspan="2" \|7/2~~
	~~\| rowspan="2" \|15/4~~
	~~\| rowspan="2" \|4/1~~
	~~\| rowspan="2" \|17/4~~
	~~\| rowspan="2" \|9/2~~
	~~\| rowspan="2" \|14/3~~
	~~\| rowspan="2" \|5/1~~
	~~\|16/3~~
	~~\|28/5~~
	~~\| rowspan="2" \|6/1~~
	\| colspan="2" \|~~13/2~~
	~~\| rowspan="2" \|7/1~~
	~~\| rowspan="2" \|15/2~~
	~~\| rowspan="2" \|8/1~~
	\|-		\|-
	\|16/5		\| 3/1
	\|''11/2''		\| 16/5 <br>''13/4''
	\|''17/3''		\| 10/3 <br>17/5
	\|''32/5''		\| 7/2 <br>18/5
	''25/4''		\| ''11/3'' <br>15/4
	\|''20/3''		\| 4/1
			\| 17/4 <br>''13/3''
			\| 9/2
			\| 14/3
			\| 5/1
			\| 16/3 <br>''11/2''
			\| 28/5 <br>''17/3''
			\| 6/1
			\| ''13/2''
			\| 20/3
			\| 7/1
			\| 15/2
			\| colspan="2" \|8/1
	\|}		\|}

			== Individual pages for ED13s ==
			* [[10ed13]] - [[Sensi]] generator
			* [[14ed13]] - [[Kleismic]] generator
			* [[37ed13]] - compare [[10edo]]
			* [[45ed13]]

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

Moremajorthanmajor at 03:57, 17 May 2023

2023-05-17T03:57:27Z

← Older revision		Revision as of 03:57, 17 May 2023
Line 36:		Line 36:
	\| rowspan="2" \|5/3		\| rowspan="2" \|5/3
	\| rowspan="2" \|7/2		\| rowspan="2" \|7/2
	\| ~~rowspan="2" \|15~~/8		\|''11/6''
	\| rowspan="2" \|2/1		\| rowspan="2" \|2/1
	\| ~~rowspan="2" \|15~~/7		\|''11/5''
	\| rowspan="2" \|9/4		\| rowspan="2" \|9/4
	\| rowspan="2" \|7/3		\| rowspan="2" \|7/3
Line 45:		Line 45:
	\| rowspan="2" \|14/5		\| rowspan="2" \|14/5
	\|-		\|-
			\|15/8
			\|15/7
	\|''11/4''		\|''11/4''
	\|-		\|-
Line 78:		Line 80:
	\| rowspan="2" \|5/1		\| rowspan="2" \|5/1
	\|16/3		\|16/3
	~~\| rowspan="2"~~ \|28/5		\|28/5
	\| rowspan="2" \|6/1		\| rowspan="2" \|6/1
	\| colspan="2" \|13/2		\| colspan="2" \|13/2
Line 87:		Line 89:
	\|16/5		\|16/5
	\|''11/2''		\|''11/2''
			\|''17/3''
	\|''32/5''		\|''32/5''
	''25/4''		''25/4''

BudjarnLambeth: Categorised this uncategorised page

2023-04-23T20:56:08Z

Categorised this uncategorised page

← Older revision		Revision as of 20:56, 23 April 2023
Line 91:		Line 91:
	\|''20/3''		\|''20/3''
	\|}		\|}
			[[Category:Edonoi]]

Moremajorthanmajor: /* Division of the thirteenth harmonic into n equal parts */

2023-01-19T02:00:38Z

Division of the thirteenth harmonic into n equal parts

← Older revision		Revision as of 02:00, 19 January 2023
Line 2:		Line 2:

	= Division of the thirteenth harmonic into n equal parts =		= Division of the thirteenth harmonic into n equal parts =
	The thirteenth harmonic is particularly wide as far as equivalences go. There are (at absolute most) ~3 triskaidecataves within the human hearing range; imagine if that were the case with octaves. If one does indeed deal with ~~hendecatave~~ equivalence, this fact shapes one's musical approach dramatically. The thirteenth harmonic causes the ideal chromatic scale to "break down" after the tritave:		The thirteenth harmonic is particularly wide as far as equivalences go. There are (at absolute most) ~3 triskaidecataves within the human hearing range; imagine if that were the case with octaves. If one does indeed deal with triskaidecatave equivalence, this fact shapes one's musical approach dramatically. The thirteenth harmonic causes the ideal chromatic scale to "break down" after the tritave:
	{\| class="wikitable"		{\| class="wikitable"
	\|+		\|+

Moremajorthanmajor at 19:05, 11 May 2021

2021-05-11T19:05:06Z

← Older revision		Revision as of 19:05, 11 May 2021
Line 42:		Line 42:
	\| rowspan="2" \|7/3		\| rowspan="2" \|7/3
	\| rowspan="2" \|5/2		\| rowspan="2" \|5/2
	\| rowspan="2" \|8/3		\|8/3
			\| rowspan="2" \|14/5
			\|-
	\|''11/4''		\|''11/4''
	\|-
	~~\|14/5~~
	\|-		\|-
	!P12		!P12
Line 77:		Line 77:
	\| rowspan="2" \|14/3		\| rowspan="2" \|14/3
	\| rowspan="2" \|5/1		\| rowspan="2" \|5/1
	\| rowspan="2" \|16/3		\|16/3
	~~\|''11/2''~~		\| rowspan="2" \|28/5
	\| rowspan="2" \|6/1		\| rowspan="2" \|6/1
	\| colspan="2" \|13/2		\| colspan="2" \|13/2
Line 86:		Line 86:
	\|-		\|-
	\|16/5		\|16/5
	\|28/5		\|''11/2''
	\|''32/5''		\|''32/5''
	''25/4''		''25/4''
	\|''20/3''		\|''20/3''
	\|}		\|}

Moremajorthanmajor at 19:01, 11 May 2021

2021-05-11T19:01:30Z

@@ Line 2: / Line 2: @@
 = Division of the thirteenth harmonic into n equal parts =
-The thirteenth harmonic is particularly wide as far as equivalences go. There are (at absolute most) ~3 triskaidecataves within the human hearing range; imagine if that were the case with octaves. If one does indeed deal with hendecatave equivalence, this fact shapes one's musical approach dramatically. The thirteenth harmonic causes the ideal chromatic scale to "break down" during the third octave:
+The thirteenth harmonic is particularly wide as far as equivalences go. There are (at absolute most) ~3 triskaidecataves within the human hearing range; imagine if that were the case with octaves. If one does indeed deal with hendecatave equivalence, this fact shapes one's musical approach dramatically. The thirteenth harmonic causes the ideal chromatic scale to "break down" after the tritave:
 {| class="wikitable"
 |+
@@ Line 25: / Line 25: @@
 !A11
 d12
 !P12
 !m13
@@ Line 45: / Line 67: @@
 !P22
 |-
 | rowspan="2" |3/1
-| rowspan="2" |''13/4''
+|''13/4''
 | rowspan="2" |10/3
 | rowspan="2" |7/2
@@ Line 74: / Line 78: @@
 | rowspan="2" |5/1
 | rowspan="2" |16/3
-| rowspan="2" |11/2
+|''11/2''
 | rowspan="2" |6/1
 | colspan="2" |13/2
@@ Line 81: / Line 85: @@
 | rowspan="2" |8/1
 |-
 |''32/5''
 |''20/3''
 |}

Moremajorthanmajor: Undo revision 69712 by Moremajorthanmajor (talk)

2021-05-11T18:46:05Z

Undo revision 69712 by Moremajorthanmajor (talk)

@@ Line 2: / Line 2: @@
 = Division of the thirteenth harmonic into n equal parts =
-The thirteenth harmonic is particularly wide as far as equivalences go. There are (at absolute most) ~3 triskaidecataves within the human hearing range; imagine if that were the case with octaves. If one does indeed deal with hendecatave equivalence, this fact shapes one's musical approach dramatically. The thirteenth harmonic causes the ideal chromatic scale to "break down" after the tritave:
+The thirteenth harmonic is particularly wide as far as equivalences go. There are (at absolute most) ~3 triskaidecataves within the human hearing range; imagine if that were the case with octaves. If one does indeed deal with hendecatave equivalence, this fact shapes one's musical approach dramatically. The thirteenth harmonic causes the ideal chromatic scale to "break down" during the third octave:
 {| class="wikitable"
 |+
@@ Line 25: / Line 25: @@
 !A11
 d12
 !P12
 !m13
@@ Line 66: / Line 45: @@
 !P22
 |-
 | rowspan="2" |3/1
 | rowspan="2" |''13/4''