53edo: Difference between revisions
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== Theory == | == Theory == | ||
53edo is notable as an excellent [[5-limit]] system, a fact apparently first noted by {{w|Isaac Newton}}<ref>[https://emusicology.org/index.php/EMR/article/view/7647/6030 Muzzulini, Daniel. 2021. "Isaac Newton's Microtonal Approach to Just Intonation". ''Empirical Musicology Review'' 15 ( | 53edo is notable as an excellent [[5-limit]] system, a fact apparently first noted by {{w|Isaac Newton}}<ref>[https://emusicology.org/index.php/EMR/article/view/7647/6030 Muzzulini, Daniel. 2021. "Isaac Newton's Microtonal Approach to Just Intonation". ''Empirical Musicology Review'' 15 (3–4):223–48. https://doi.org/10.18061/emr.v15i3-4.7647.]</ref>. It is the seventh [[The Riemann zeta function and tuning #Zeta EDO lists|strict zeta edo]]. In the opinion of some, 53edo is the first equal division to deal adequately with the [[13-limit]], while others award that distinction to [[41edo]] or [[46edo]]. Like 41 and 46, 53 is distinctly [[consistent]] in the [[9-odd-limit]] (and if we exclude the most damaged interval pair, 7/5 and 10/7, is [[consistent to distance]] 2), but among them, 53 is the first that finds the [[interseptimal interval]]s [[15/13]] and [[13/10]] distinctly from adjacent [[7-limit|septimal]] intervals [[8/7]] and [[7/6]], and [[9/7]] and [[21/16]], respectively, which is essential to its 13-limit credibility. It also avoids equating [[11/9]] with [[16/13]], so that the former is tuned very flat to equate it with a slightly flat [[~]][[39/32]] – a feature shared by 46edo. It is almost consistent to the entire [[15-odd-limit]], with the only inconsistency occurring at [[14/11]] (and its octave complement), which is mapped inconsistently sharp and equated with [[9/7]], but it has the benefit of doing very well in larger prime/subgroup-limited odd-limits. It can be treated as a no-11's, no-17's tuning, on which it is consistent all the way up to the [[27-odd-limit]]. | ||
As an equal temperament, it notably [[tempering out|tempers out]] [[Mercator's comma]] (3<sup>53</sup>/2<sup>84</sup>), the [[schisma|schisma (32805/32768)]], [[15625/15552|kleisma (15625/15552)]], and [[amity comma|amity comma (1600000/1594323)]]. In the 7-limit it tempers out the [[225/224|marvel comma (225/224)]] for which it is a [[Marvel#Tunings|relatively efficient tuning]], [[1728/1715|orwellisma (1728/1715)]], [[3125/3087|gariboh comma (3125/3087)]], and [[4375/4374|ragisma (4375/4374)]]. In the 11-limit, it tempers out [[99/98]] and [[121/120]] (in addition to their difference, [[540/539]]), and is the [[optimal patent val]] for [[big brother]] temperament, which tempers out both, as well as 11-limit [[orwell]] temperament, which also tempers out the 11-limit commas [[176/175]] and [[385/384]]. In the 13-limit, it tempers out [[169/168]], [[275/273]], [[325/324]], [[625/624]], [[676/675]], [[1001/1000]], [[2080/2079]], and [[4096/4095]], and gives the optimal patent val for [[marvel family #Athene|athene]] temperament. | As an equal temperament, it notably [[tempering out|tempers out]] [[Mercator's comma]] (3<sup>53</sup>/2<sup>84</sup>), the [[schisma|schisma (32805/32768)]], [[15625/15552|kleisma (15625/15552)]], and [[amity comma|amity comma (1600000/1594323)]]. In the 7-limit it tempers out the [[225/224|marvel comma (225/224)]] for which it is a [[Marvel#Tunings|relatively efficient tuning]], [[1728/1715|orwellisma (1728/1715)]], [[3125/3087|gariboh comma (3125/3087)]], and [[4375/4374|ragisma (4375/4374)]]. In the 11-limit, it tempers out [[99/98]] and [[121/120]] (in addition to their difference, [[540/539]]), and is the [[optimal patent val]] for [[big brother]] temperament, which tempers out both, as well as 11-limit [[orwell]] temperament, which also tempers out the 11-limit commas [[176/175]] and [[385/384]]. In the 13-limit, it tempers out [[169/168]], [[275/273]], [[325/324]], [[625/624]], [[676/675]], [[1001/1000]], [[2080/2079]], and [[4096/4095]], and gives the optimal patent val for [[marvel family #Athene|athene]] temperament. | ||
Line 537: | Line 537: | ||
| downminor | | downminor | ||
| zo | | zo | ||
| (a, b, 0, 1) | | {{nowrap|(a, b, 0, 1)}} | ||
| 7/6, 7/4 | | 7/6, 7/4 | ||
|- | |- | ||
| minor | | minor | ||
| fourthward wa | | fourthward wa | ||
| (a, b) with b < | | {{nowrap|(a, b)}} with {{nowrap|b < −1}} | ||
| 32/27, 16/9 | | 32/27, 16/9 | ||
|- | |- | ||
| upminor | | upminor | ||
| gu | | gu | ||
| (a, b, | | {{nowrap|(a, b, −1)}} | ||
| 6/5, 9/5 | | 6/5, 9/5 | ||
|- | |- | ||
| dupminor | | dupminor | ||
| ilo | | ilo | ||
| (a, b, 0, 0, 1) | | {{nowrap|(a, b, 0, 0, 1)}} | ||
| 11/9, 11/6 | | 11/9, 11/6 | ||
|- | |- | ||
| dudmajor | | dudmajor | ||
| lu | | lu | ||
| (a, b, 0, 0, | | {{nowrap|(a, b, 0, 0, −1)}} | ||
| 12/11, 18/11 | | 12/11, 18/11 | ||
|- | |- | ||
| downmajor | | downmajor | ||
| yo | | yo | ||
| (a, b, 1) | | {{nowrap|(a, b, 1)}} | ||
| 5/4, 5/3 | | 5/4, 5/3 | ||
|- | |- | ||
| major | | major | ||
| fifthward wa | | fifthward wa | ||
| (a, b) with b > 1 | | {{nowrap|(a, b)}} with {{nowrap|b > 1}} | ||
| 9/8, 27/16 | | 9/8, 27/16 | ||
|- | |- | ||
| upmajor | | upmajor | ||
| ru | | ru | ||
| (a, b, 0, | | {{nowrap|(a, b, 0, −1)}} | ||
| 9/7, 12/7 | | 9/7, 12/7 | ||
|} | |} | ||
All 53edo chords can be named using ups and downs. An up, down or mid after the chord root affects the 3rd, 6th, 7th, and/or the 11th (every other note of a | All 53edo chords can be named using ups and downs. An up, down or mid after the chord root affects the 3rd, 6th, 7th, and/or the 11th (every other note of a stacked−3rds chord {{nowrap|{{dash|6, 1, 3, 5, 7, 9, 11, 13}}}}). Alterations are always enclosed in parentheses, additions never are. | ||
Here are the zo, gu, ilo, lu, yo and ru triads: | Here are the zo, gu, ilo, lu, yo and ru triads: | ||
Line 589: | Line 589: | ||
| zo | | zo | ||
| 6:7:9 | | 6:7:9 | ||
| | | 0–12–31 | ||
| C vEb G | | C vEb G | ||
| Cvm | | Cvm | ||
Line 596: | Line 596: | ||
| gu | | gu | ||
| 10:12:15 | | 10:12:15 | ||
| | | 0–14–31 | ||
| C ^Eb G | | C ^Eb G | ||
| C^m | | C^m | ||
Line 603: | Line 603: | ||
| ilo | | ilo | ||
| 18:22:27 | | 18:22:27 | ||
| | | 0–15–31 | ||
| C ^^Eb G | | C ^^Eb G | ||
| C^^m | | C^^m | ||
Line 610: | Line 610: | ||
| lu | | lu | ||
| 22:27:33 | | 22:27:33 | ||
| | | 0–16–31 | ||
| C vvE G | | C vvE G | ||
| Cvv | | Cvv | ||
Line 617: | Line 617: | ||
| yo | | yo | ||
| 4:5:6 | | 4:5:6 | ||
| | | 0–17–31 | ||
| C vE G | | C vE G | ||
| Cv | | Cv | ||
Line 624: | Line 624: | ||
| ru | | ru | ||
| 14:18:21 | | 14:18:21 | ||
| | | 0–19–31 | ||
| C ^E G | | C ^E G | ||
| C^ | | C^ | ||
Line 637: | Line 637: | ||
Another notation uses [[Alternative symbols for ups and downs notation#Sharp-5|alternative ups and downs]]. Here, this can be done using sharps and flats with arrows, borrowed from extended [[Helmholtz–Ellis notation]]: | Another notation uses [[Alternative symbols for ups and downs notation#Sharp-5|alternative ups and downs]]. Here, this can be done using sharps and flats with arrows, borrowed from extended [[Helmholtz–Ellis notation]]: | ||
{{Sharpness-sharp5}} | {{Sharpness-sharp5}} | ||
=== Sagittal notation === | === Sagittal notation === | ||
==== Evo flavor ==== | ==== Evo flavor ==== | ||
Line 665: | Line 666: | ||
== Relationship to 12edo == | == Relationship to 12edo == | ||
53edo's [[circle of fifths|circle of 53 fifths]] can be bent into a [[spiral chart|12-spoked "spiral of fifths"]]. This is | 53edo's [[circle of fifths|circle of 53 fifths]] can be bent into a [[spiral chart|12-spoked "spiral of fifths"]]. This makes sense to do because going up by 12 fifths results in the Pythagorean comma (by definition), which is mapped to one edostep and is thus also the syntonic and septimal comma, introducing a simple second accidental in the form of the arrow to reach useful intervals from the basic 12-chromatic scale. The one-edostep comma is a requirement in Kite's theory, and implies that 31\53 is on the 7\12 kite in the [[scale tree]]. | ||
This "spiral of fifths" can be a useful construct for introducing 53edo to musicians unfamiliar with microtonal music. It may help composers and musicians to make visual sense of the notation, and to understand what size of a jump is likely to land them where compared to 12edo. | This "spiral of fifths" can be a useful construct for introducing 53edo to musicians unfamiliar with microtonal music. It may help composers and musicians to make visual sense of the notation, and to understand what size of a jump is likely to land them where compared to 12edo. | ||
Line 719: | Line 720: | ||
=== Higher-limit JI === | === Higher-limit JI === | ||
53edo has only 5 pairs of inconsistent intervals in the full 27-odd-limit: {11/7, 14/11}, {[[17/11]], [[22/17]]}, {[[19/17]], [[34/19]]}, {[[21/11]], [[22/21]]}, and {[[23/22]], [[44/23]]}. This is perhaps remarkable compared to | 53edo has only 5 pairs of inconsistent intervals in the full 27-odd-limit: {11/7, 14/11}, {[[17/11]], [[22/17]]}, {[[19/17]], [[34/19]]}, {[[21/11]], [[22/21]]}, and {[[23/22]], [[44/23]]}. This is perhaps remarkable compared to 9 pairs in 46edo and 11 pairs in 41edo, because the smallest edo after 53edo to get 5 or less inconsistencies in the 27-odd-limit is [[99edo]] (using the 99[[wart|ef]] [[val]]), followed by [[111edo]] ([[patent val]]), [[130edo]] (patent val) and [[159edo]] (also patent); all of these get 5 inconsistencies as well except 159edo which gets 1 and which is itself a superset of 53edo. However, most interpret the approximation of prime 17 in 53edo as too off for all but the most opportunistic harmonies, and some question the 23 and possibly also 11, so the practical significance of this is debatable. | ||
As shown below, there is also a cluster of usable higher primes starting at 71; even 89 (4.84{{c}} flat), 97 (4.63{{c}} sharp) and 101 (2.6{{c}} sharp) are usable if placed in just the right context. (Note that prime 67 is almost perfectly off.) | As shown below, there is also a cluster of usable higher primes starting at 71; even 89 (4.84{{c}} flat), 97 (4.63{{c}} sharp) and 101 (2.6{{c}} sharp) are usable if placed in just the right context. (Note that prime 67 is almost perfectly off.) | ||
Line 727: | Line 728: | ||
Note that the high primes, in [[rooted]] (/2<sup>''n''</sup>) position, essentially act as alternate interpretations of [[LCJI]] intervals, if you want to force a rooted interpretation; namely: [[71/64]] as ~[[10/9]], [[73/64]] as ~[[8/7]], [[79/64]] as ~[[16/13]], and perhaps most questionably in the context of 53edo, [[83/64]] as ~[[13/10]]. | Note that the high primes, in [[rooted]] (/2<sup>''n''</sup>) position, essentially act as alternate interpretations of [[LCJI]] intervals, if you want to force a rooted interpretation; namely: [[71/64]] as ~[[10/9]], [[73/64]] as ~[[8/7]], [[79/64]] as ~[[16/13]], and perhaps most questionably in the context of 53edo, [[83/64]] as ~[[13/10]]. | ||
== Regular temperament properties == | == Regular temperament properties == | ||
Line 772: | Line 742: | ||
|- | |- | ||
| 2.3 | | 2.3 | ||
| {{ | | {{Monzo| -84 53 }} | ||
| {{ | | {{Mapping| 53 84 }} | ||
| +0.022 | | +0.022 | ||
| 0.022 | | 0.022 | ||
Line 780: | Line 750: | ||
| 2.3.5 | | 2.3.5 | ||
| 15625/15552, 32805/32768 | | 15625/15552, 32805/32768 | ||
| {{ | | {{Mapping| 53 84 123 }} | ||
| +0.216 | | +0.216 | ||
| 0.276 | | 0.276 | ||
Line 787: | Line 757: | ||
| 2.3.5.7 | | 2.3.5.7 | ||
| 225/224, 1728/1715, 3125/3087 | | 225/224, 1728/1715, 3125/3087 | ||
| {{ | | {{Mapping| 53 84 123 149 }} | ||
| −0.262 | | −0.262 | ||
| 0.861 | | 0.861 | ||
Line 794: | Line 764: | ||
| 2.3.5.7.11 | | 2.3.5.7.11 | ||
| 99/98, 121/120, 176/175, 2200/2187 | | 99/98, 121/120, 176/175, 2200/2187 | ||
| {{ | | {{Mapping| 53 84 123 149 183 }} | ||
| +0.248 | | +0.248 | ||
| 1.279 | | 1.279 | ||
Line 801: | Line 771: | ||
| 2.3.5.7.11.13 | | 2.3.5.7.11.13 | ||
| 99/98, 121/120, 169/168, 176/175, 275/273 | | 99/98, 121/120, 169/168, 176/175, 275/273 | ||
| {{ | | {{Mapping| 53 84 123 149 183 196 }} | ||
| +0.332 | | +0.332 | ||
| 1.183 | | 1.183 | ||
Line 808: | Line 778: | ||
| 2.3.5.7.11.13.19 | | 2.3.5.7.11.13.19 | ||
| 99/98, 121/120, 169/168, 176/175, 209/208, 275/273 | | 99/98, 121/120, 169/168, 176/175, 209/208, 275/273 | ||
| {{ | | {{Mapping| 53 84 123 149 183 196 225 }} | ||
| +0.391 | | +0.391 | ||
| 1.105 | | 1.105 | ||
Line 829: | Line 799: | ||
| 3 | | 3 | ||
| <abbr title="19383245667680019896796723/19342813113834066795298816">(52 digits)</abbr> | | <abbr title="19383245667680019896796723/19342813113834066795298816">(52 digits)</abbr> | ||
| {{ | | {{Monzo| -84 53 }} | ||
| 3.62 | | 3.62 | ||
| Tribilawa | | Tribilawa | ||
Line 836: | Line 806: | ||
| 5 | | 5 | ||
| [[2109375/2097152|(14 digits)]] | | [[2109375/2097152|(14 digits)]] | ||
| {{ | | {{Monzo| -21 3 7 }} | ||
| 10.06 | | 10.06 | ||
| Lasepyo | | Lasepyo | ||
Line 843: | Line 813: | ||
| 5 | | 5 | ||
| [[15625/15552]] | | [[15625/15552]] | ||
| {{ | | {{Monzo| -6 -5 6 }} | ||
| 8.11 | | 8.11 | ||
| Tribiyo | | Tribiyo | ||
Line 850: | Line 820: | ||
| 5 | | 5 | ||
| <abbr title="1600000/1594323">(14 digits)</abbr> | | <abbr title="1600000/1594323">(14 digits)</abbr> | ||
| {{ | | {{Monzo| 9 -13 5 }} | ||
| 6.15 | | 6.15 | ||
| Saquinyo | | Saquinyo | ||
Line 857: | Line 827: | ||
| 5 | | 5 | ||
| <abbr title="10485760000/10460353203">(22 digits)</abbr> | | <abbr title="10485760000/10460353203">(22 digits)</abbr> | ||
| {{ | | {{Monzo| 24 -21 4 }} | ||
| 4.20 | | 4.20 | ||
| Sasaquadyo | | Sasaquadyo | ||
Line 864: | Line 834: | ||
| 5 | | 5 | ||
| [[32805/32768]] | | [[32805/32768]] | ||
| {{ | | {{Monzo| -15 8 1 }} | ||
| 1.95 | | 1.95 | ||
| Layo | | Layo | ||
Line 871: | Line 841: | ||
| 7 | | 7 | ||
| [[3125/3087]] | | [[3125/3087]] | ||
| {{ | | {{Monzo| 0 -2 5 -3 }} | ||
| 21.18 | | 21.18 | ||
| Triru-aquinyo | | Triru-aquinyo | ||
Line 878: | Line 848: | ||
| 7 | | 7 | ||
| [[1728/1715]] | | [[1728/1715]] | ||
| {{ | | {{Monzo| 6 3 -1 -3 }} | ||
| 13.07 | | 13.07 | ||
| Triru-agu | | Triru-agu | ||
Line 885: | Line 855: | ||
| 7 | | 7 | ||
| [[225/224]] | | [[225/224]] | ||
| {{ | | {{Monzo| -5 2 2 -1 }} | ||
| 7.71 | | 7.71 | ||
| Ruyoyo | | Ruyoyo | ||
Line 892: | Line 862: | ||
| 7 | | 7 | ||
| [[4375/4374]] | | [[4375/4374]] | ||
| {{ | | {{Monzo| -1 -7 4 1 }} | ||
| 0.40 | | 0.40 | ||
| Zoquadyo | | Zoquadyo | ||
Line 899: | Line 869: | ||
| 11 | | 11 | ||
| [[99/98]] | | [[99/98]] | ||
| {{ | | {{Monzo| -1 2 0 -2 1 }} | ||
| 17.58 | | 17.58 | ||
| Loruru | | Loruru | ||
Line 906: | Line 876: | ||
| 11 | | 11 | ||
| [[121/120]] | | [[121/120]] | ||
| {{ | | {{Monzo| -3 -1 -1 0 2 }} | ||
| 14.37 | | 14.37 | ||
| Lologu | | Lologu | ||
Line 913: | Line 883: | ||
| 11 | | 11 | ||
| [[176/175]] | | [[176/175]] | ||
| {{ | | {{Monzo| 4 0 -2 -1 1 }} | ||
| 9.86 | | 9.86 | ||
| Lorugugu | | Lorugugu | ||
Line 920: | Line 890: | ||
| 11 | | 11 | ||
| <abbr title="94489280512/94143178827">(22 digits)</abbr> | | <abbr title="94489280512/94143178827">(22 digits)</abbr> | ||
| {{ | | {{Monzo| 33 -23 0 0 1 }} | ||
| 6.35 | | 6.35 | ||
| Trisalo | | Trisalo | ||
Line 927: | Line 897: | ||
| 11 | | 11 | ||
| [[385/384]] | | [[385/384]] | ||
| {{ | | {{Monzo| -7 -1 1 1 1 }} | ||
| 4.50 | | 4.50 | ||
| Lozoyo | | Lozoyo | ||
Line 934: | Line 904: | ||
| 11 | | 11 | ||
| [[540/539]] | | [[540/539]] | ||
| {{ | | {{Monzo| 2 3 1 -2 -1 }} | ||
| 3.21 | | 3.21 | ||
| Lururuyo | | Lururuyo | ||
Line 941: | Line 911: | ||
| 13 | | 13 | ||
| [[275/273]] | | [[275/273]] | ||
| {{ | | {{Monzo| 0 -1 2 -1 1 -1 }} | ||
| 12.64 | | 12.64 | ||
| Thuloruyoyo | | Thuloruyoyo | ||
Line 948: | Line 918: | ||
| 13 | | 13 | ||
| [[169/168]] | | [[169/168]] | ||
| {{ | | {{Monzo| -3 -1 0 -1 0 2 }} | ||
| 10.27 | | 10.27 | ||
| Thothoru | | Thothoru | ||
Line 955: | Line 925: | ||
| 13 | | 13 | ||
| [[625/624]] | | [[625/624]] | ||
| {{ | | {{Monzo| -4 -1 4 0 0 -1 }} | ||
| 2.77 | | 2.77 | ||
| Thuquadyo | | Thuquadyo | ||
Line 962: | Line 932: | ||
| 13 | | 13 | ||
| [[676/675]] | | [[676/675]] | ||
| {{ | | {{Monzo| 2 -3 -2 0 0 2 }} | ||
| 2.56 | | 2.56 | ||
| Bithogu | | Bithogu | ||
Line 969: | Line 939: | ||
| 13 | | 13 | ||
| [[1001/1000]] | | [[1001/1000]] | ||
| {{ | | {{Monzo| -3 0 -3 1 1 1 }} | ||
| 1.73 | | 1.73 | ||
| Tholozotrigu | | Tholozotrigu | ||
Line 976: | Line 946: | ||
| 13 | | 13 | ||
| [[2080/2079]] | | [[2080/2079]] | ||
| {{ | | {{Monzo| 5 -3 1 -1 -1 1 }} | ||
| 0.83 | | 0.83 | ||
| Tholuruyo | | Tholuruyo | ||
Line 983: | Line 953: | ||
| 13 | | 13 | ||
| [[4096/4095]] | | [[4096/4095]] | ||
| {{ | | {{Monzo| 12 -2 -1 -1 0 -1 }} | ||
| 0.42 | | 0.42 | ||
| Sathurugu | | Sathurugu | ||
Line 1,013: | Line 983: | ||
| 16/15 | | 16/15 | ||
| [[Misneb]] | | [[Misneb]] | ||
|- | |||
| 1 | |||
| 6\53 | |||
| 135.8 | |||
| [[13/12]]~[[14/13]] | |||
| [[Doublethink]] | |||
|- | |- | ||
| 1 | | 1 | ||
Line 1,108: | Line 1,084: | ||
| 566.0 | | 566.0 | ||
| 18/13 | | 18/13 | ||
| [[ | | [[Alphatrimot]] | ||
|- | |- | ||
| 1 | | 1 | ||
Line 1,119: | Line 1,095: | ||
== Scales == | == Scales == | ||
=== | === Mos scales === | ||
While there is only one possible generator for the [[5L 2s|diatonic]] [[mos scale]] supported by this edo, there are a greater number of generators for other mosses such as the [[2L 5s|antidiatonic]] scale. | While there is only one possible generator for the [[5L 2s|diatonic]] [[mos scale]] supported by this edo, there are a greater number of generators for other mosses such as the [[2L 5s|antidiatonic]] scale. | ||
* [[List of MOS scales in 53edo]] | * [[List of MOS scales in 53edo]] | ||
Line 1,128: | Line 1,104: | ||
* Ptolmey–Zarlino justly-intonated major: 9 8 5 9 8 9 5 | * Ptolmey–Zarlino justly-intonated major: 9 8 5 9 8 9 5 | ||
* Ptolmey–Zarlino justly-intonated minor: 9 5 8 9 5 9 8 | * Ptolmey–Zarlino justly-intonated minor: 9 5 8 9 5 9 8 | ||
; From [[AFDO]]s | |||
{{Idiosyncratic terms}} | |||
* Composite Cliffedge (approximated from [[60afdo]]): 12 10 9 19 3 | * Composite Cliffedge (approximated from [[60afdo]]): 12 10 9 19 3 | ||
* Composite Deja Vu (approximated from [[101afdo]]): 14 17 5 9 8 | * Composite Deja Vu (approximated from [[101afdo]]): 14 17 5 9 8 | ||
Line 1,145: | Line 1,124: | ||
=== Other scales === | === Other scales === | ||
* [[cthon5m]]: 6 3 6 2 3 6 2 3 6 3 2 6 3 2 | * [[cthon5m]]: 6 3 6 2 3 6 2 3 6 3 2 6 3 2 | ||
* Palace (approximated from [[Porky]] in [[29edo]]): 7 7 8 9 7 7 8 | * Palace{{idio}} (approximated from [[Porky]] in [[29edo]]): 7 7 8 9 7 7 8 | ||
== Instruments == | |||
* [[Lumatone mapping for 53edo]] | |||
* [[Skip fretting system 53 3 14]] | |||
* [[Skip fretting system 53 3 17]] | |||
== Music == | == Music == | ||
Line 1,156: | Line 1,140: | ||
** [https://web.archive.org/web/20201127013408/http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Khramov/prelude1-53.mp3 Prelude] · [https://web.archive.org/web/20201127012701/http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Khramov/fugue1-53.mp3 Fugue] | ** [https://web.archive.org/web/20201127013408/http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Khramov/prelude1-53.mp3 Prelude] · [https://web.archive.org/web/20201127012701/http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Khramov/fugue1-53.mp3 Fugue] | ||
* [https://www.youtube.com/watch?v=WyLDjrLa94Y "Ricercar a 3" from ''The Musical Offering'', BWV 1079] (1747) – rendered by Claudi Meneghin (2024) | * [https://www.youtube.com/watch?v=WyLDjrLa94Y "Ricercar a 3" from ''The Musical Offering'', BWV 1079] (1747) – rendered by Claudi Meneghin (2024) | ||
* [https://www.youtube.com/watch?v=GK9YwSphw5Y "Ricercar a 6" from ''The Musical Offering'', BWV 1079] (1747) – rendered by Claudi Meneghin (2025) | |||
* [https://www.youtube.com/watch?v=daWx5-iegW0 "Ricercar a 6" from ''The Musical Offering'', BWV 1079] (1747) – with syntonic-comma adjustment, rendered by Claudi Meneghin (2025) | |||
* [https://www.youtube.com/watch?v=dZyrIOMEmzo "Contrapunctus 4" from ''The Art of Fugue'', BWV 1080] (1742–1749) – rendered by Claudi Meneghin (2024) | * [https://www.youtube.com/watch?v=dZyrIOMEmzo "Contrapunctus 4" from ''The Art of Fugue'', BWV 1080] (1742–1749) – rendered by Claudi Meneghin (2024) | ||
* [https://www.youtube.com/watch?v=vcinR7nUthA "Contrapunctus 11" from ''The Art of Fugue'', BWV 1080] (1742–1749) – rendered by Claudi Meneghin (2024) | * [https://www.youtube.com/watch?v=vcinR7nUthA "Contrapunctus 11" from ''The Art of Fugue'', BWV 1080] (1742–1749) – rendered by Claudi Meneghin (2024) | ||
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=== 21st century === | === 21st century === | ||
; [[Bryan Deister]] | |||
* [https://www.youtube.com/shorts/r-Tzq33OGM4 ''microtonal improvisation in 53edo''] (2025) | |||
; [[Francium]] | ; [[Francium]] | ||
* [https://www.youtube.com/watch?v=GLQ1gD4bshY ''Space Race''] (2022) | * [https://www.youtube.com/watch?v=GLQ1gD4bshY ''Space Race''] (2022) | ||
* "strange worlds" from ''hope in dark times'' (2024) – [https://open.spotify.com/track/6mjYGHlW7lSoez8NsDz021 Spotify] | [https://francium223.bandcamp.com/track/strange-worlds Bandcamp] | [https://www.youtube.com/watch?v=tPwRWVjeKA8 YouTube] – in Hanson[11], 53edo tuning | * "strange worlds" from ''hope in dark times'' (2024) – [https://open.spotify.com/track/6mjYGHlW7lSoez8NsDz021 Spotify] | [https://francium223.bandcamp.com/track/strange-worlds Bandcamp] | [https://www.youtube.com/watch?v=tPwRWVjeKA8 YouTube] – in Hanson[11], 53edo tuning | ||
* "Blasphemous Rumors" from ''TOTMC September to December 2024'' (2024) – [https://open.spotify.com/track/7nOrawE5wLqllqMAApHadh Spotify] | [https://francium223.bandcamp.com/track/blasphemous-rumours Bandcamp] | [https://www.youtube.com/watch?v=kwELa9kP8YU YouTube] – in Blackdye, 53edo tuning | * "Blasphemous Rumors" from ''TOTMC September to December 2024'' (2024) – [https://open.spotify.com/track/7nOrawE5wLqllqMAApHadh Spotify] | [https://francium223.bandcamp.com/track/blasphemous-rumours Bandcamp] | [https://www.youtube.com/watch?v=kwELa9kP8YU YouTube] – in Blackdye, 53edo tuning | ||
* "It's a Good Idea to Have a Good Time." from ''Random Sentences'' (2025) – [https://open.spotify.com/track/3rYiNMcOQ5Oxz7F6mQZsfw Spotify] | [https://francium223.bandcamp.com/track/its-a-good-idea-to-have-a-good-time Bandcamp] | [https://www.youtube.com/watch?v=D-i-4Sv-vqE YouTube] – | * "It's a Good Idea to Have a Good Time." from ''Random Sentences'' (2025) – [https://open.spotify.com/track/3rYiNMcOQ5Oxz7F6mQZsfw Spotify] | [https://francium223.bandcamp.com/track/its-a-good-idea-to-have-a-good-time Bandcamp] | [https://www.youtube.com/watch?v=D-i-4Sv-vqE YouTube] | ||
* "Decearing Egg" from ''Eggs'' (2025) – [https://open.spotify.com/track/2KfOutrIDfbk4S9kxYi8sL Spotify] | [https://francium223.bandcamp.com/track/decearing-egg Bandcamp] | [https://www.youtube.com/watch?v=_CJ5MgIRKnM YouTube] | |||
* "Husband Head Void" from ''Void'' (2025) – [https://open.spotify.com/track/4yvyDZv8dBjOiurzoTjpBj Spotify] | [https://francium223.bandcamp.com/track/husband-head-void Bandcamp] | [https://www.youtube.com/watch?v=HMnklwjEdF0 YouTube] | |||
* "Lasagna Cat" from ''Microtonal Six-Dimensional Cats'' (2025) – [https://open.spotify.com/track/6sJil69QOqxNWrWrkgm3rl Spotify] | [https://francium223.bandcamp.com/track/lasagna-cat Bandcamp] | [https://www.youtube.com/watch?v=Ay2zhVnTlxw YouTube] | |||
; [[Andrew Heathwaite]] | ; [[Andrew Heathwaite]] | ||
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; [[Cam Taylor]] | ; [[Cam Taylor]] | ||
* [https://soundcloud.com/cam-taylor-2-1/mothers ''mothers''] (2014) | * [https://soundcloud.com/cam-taylor-2-1/mothers ''mothers''] (2014) | ||
* [https://www.youtube.com/watch?v=xIy8I0XfUDI ''Schumann: The Poet Speaks in 53-equal (5-limit) on the Lumatone''] (2022) | |||
* [https://www.youtube.com/watch?v=vpgbnACq1rA ''53-equal: lydian/aeolian pentatonic''] (2023) | |||
* [https://www.youtube.com/watch?v=LyWW3w7PhlE ''53-equal Luma MKI: around a drone on middle C''] (2023) | |||
* [https://www.youtube.com/watch?v=l9Y8NEqIkug ''22 shrutis as Schismatic[22] in A446Hz (53-equal)''] (2024) | |||
* [https://www.youtube.com/watch?v=IdiMNP4MSx8&t=2s&pp=0gcJCbIJAYcqIYzv ''A meander around 53-equal on the Lumatone''] (2025) (this is actually a keyboard mapping guide) | |||
; [[Chris Vaisvil]] | ; [[Chris Vaisvil]] | ||
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* "Taking Flight" from ''Nano Particular'' (2019) – [https://open.spotify.com/track/2zp6oM57m6BvQgyOZ5kmuZ Spotify] | [https://xotla.bandcamp.com/track/taking-flight-53edo Bandcamp] | [https://www.youtube.com/watch?v=sIsfYQATouc YouTube] | * "Taking Flight" from ''Nano Particular'' (2019) – [https://open.spotify.com/track/2zp6oM57m6BvQgyOZ5kmuZ Spotify] | [https://xotla.bandcamp.com/track/taking-flight-53edo Bandcamp] | [https://www.youtube.com/watch?v=sIsfYQATouc YouTube] | ||
* "Detective Duckweed" from ''Jazzbeetle'' (2023) – [https://open.spotify.com/track/77iDGy7hRx8az3ODrDm5Kl Spotify] | [https://xotla.bandcamp.com/track/detective-duckweed-53edo Bandcamp] | [https://youtu.be/FNXEPB4Gm54 YouTube] – jazzy big band electronic hybrid | * "Detective Duckweed" from ''Jazzbeetle'' (2023) – [https://open.spotify.com/track/77iDGy7hRx8az3ODrDm5Kl Spotify] | [https://xotla.bandcamp.com/track/detective-duckweed-53edo Bandcamp] | [https://youtu.be/FNXEPB4Gm54 YouTube] – jazzy big band electronic hybrid | ||
== Notes == | == Notes == | ||
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<references/> | <references/> | ||
[[Category:3-limit record edos|##]] <!-- 2-digit number --> | |||
[[Category:Amity]] | [[Category:Amity]] | ||
[[Category:Kleismic]] | [[Category:Kleismic]] | ||
[[Category:Island]] | [[Category:Island]] | ||
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[[Category:Orwell]] | [[Category:Orwell]] | ||
[[Category:Schismic]] | [[Category:Schismic]] | ||
[[Category:Listen]] | [[Category:Listen]] |