User:BudjarnLambeth/Structural beating: Difference between revisions

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If structural beating does exist, then the greatest determining factor of a scale's structural beating will be the [[interval region]] of the scale's period.

If the equivalence is considered to be the octave, 2/1, the perfect eighth, then one would expect equal divisions of sevenths or ninths to have the most vivid structural beating. That would include tunings like [[ed7/4]]s, [[ed16/9]]s, [[ed15/8]]s, [[phi to the phi|edφ<sup>φ</sup>s]], [[ed11/5]]s & [[ed9/4]]s.

If the equivalence is considered to be the octave, 2/1, the perfect eighth, then one would expect equal divisions of sevenths or ninths to have the most vivid structural beating. That would include tunings like [[ed7/4]]s, [[ed16/9]]s, [[ed9/5]]s, [[ed15/8]]s, [[phi to the phi|edφ<sup>φ</sup>s]], [[ed11/5]]s & [[ed9/4]]s.

If the equivalence is considered to be the tritave, 3/1, the perfect twelfth, then one would expect equal divisions of elevenths or thirteenths to have the most vivid structural beating. That would include tunings like [[ed8/3]]s, [[EDN]]s, [[ed11/4]]s, [[acoustic pi|ed(pi)s]], [[ed13/4]]s & [[ed10/3]]s.

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If the equivalence is considered to be the double octave, 4/1, the perfect fifteenth, then one would expect equal divisions of fourteenths or sixteenths to have the most vivid structural beating. That would include tunings like [[ed7/2]]s, [[ed11/3]]s, [[ed15/4]]s & [[ed9/2]]s.

If the equivalence is considered to be the pentave, 5/1, the classic major seventeenth, then one would expect equal divisions of sixteenths or eighteenths to have the most vivid structural beating. That would include tunings like [[ed9/2]]s & [[ed11/2]]s.

If the equivalence is considered to be the pentave, 5/1, the classic major seventeenth, then one would expect equal divisions of sixteenths, seventeenths or eighteenths to have the most vivid structural beating. That would include tunings like [[ed9/2]]s & [[ed11/2]]s.

[[Category:Equal-step tuning]]

@@ Line 17: / Line 17: @@
 If structural beating does exist, then the greatest determining factor of a scale's structural beating will be the [[interval region]] of the scale's period.
-If the equivalence is considered to be the octave, 2/1, the perfect eighth, then one would expect equal divisions of sevenths or ninths to have the most vivid structural beating. That would include tunings like [[ed7/4]]s, [[ed16/9]]s, [[ed15/8]]s, [[phi to the phi|edφ<sup>φ</sup>s]], [[ed11/5]]s & [[ed9/4]]s.
+If the equivalence is considered to be the octave, 2/1, the perfect eighth, then one would expect equal divisions of sevenths or ninths to have the most vivid structural beating. That would include tunings like [[ed7/4]]s, [[ed16/9]]s, [[ed9/5]]s, [[ed15/8]]s, [[phi to the phi|edφ<sup>φ</sup>s]], [[ed11/5]]s & [[ed9/4]]s.
 If the equivalence is considered to be the tritave, 3/1, the perfect twelfth, then one would expect equal divisions of elevenths or thirteenths to have the most vivid structural beating. That would include tunings like [[ed8/3]]s, [[EDN]]s, [[ed11/4]]s, [[acoustic pi|ed(pi)s]], [[ed13/4]]s & [[ed10/3]]s.
@@ Line 23: / Line 23: @@
 If the equivalence is considered to be the double octave, 4/1, the perfect fifteenth, then one would expect equal divisions of fourteenths or sixteenths to have the most vivid structural beating. That would include tunings like [[ed7/2]]s, [[ed11/3]]s, [[ed15/4]]s & [[ed9/2]]s.
-If the equivalence is considered to be the pentave, 5/1, the classic major seventeenth, then one would expect equal divisions of sixteenths or eighteenths to have the most vivid structural beating. That would include tunings like [[ed9/2]]s & [[ed11/2]]s.
+If the equivalence is considered to be the pentave, 5/1, the classic major seventeenth, then one would expect equal divisions of sixteenths, seventeenths or eighteenths to have the most vivid structural beating. That would include tunings like [[ed9/2]]s & [[ed11/2]]s.
 [[Category:Equal-step tuning]]