**39-EDO, 39-ED2** or **39-tET** divides the Octave (Ditave 2/1) in 39 equal parts of 30.76923 Cents each one. If we take 22\39 as a fifth, can be used in Mavila Temperament, and from that point of view seems to have attracted the attention of the Armodue school, an Italian group that use the scheme of [[xenharmonic/7L 2s|Superdiatonic]] LLLsLLLLs like a basical scale for notation and theory, suited in [[xenharmonic/16edo|16-ED2]], and allied systems: [[xenharmonic/25edo|25-ED2]] [1/3-tone 3;2]; [[xenharmonic/41edo|41-ED2]] [1/5-tone 5;3]; and [[xenharmonic/57edo|57]] ED2 [1/7-tone 7;4]. **Hornbostel Temperaments** is included too with: [[xenharmonic/23edo|23-ED2]] [1/3-tone 3;1]; 39-ED2 [1/5-tone 5;2] & [[xenharmonic/62edo|62-ED2]] [1/8-tone 8;3]. [[223edo|223-ED2]], the best accuracy for Hornbostel temperament fits very good with Armodue like 1/29-tone 29;10 version. Note that [[101edo|101]], [[131edo|131]], [[177edo|177]] & [[200edo|200]] ED2s are tempered systems that [[http://www.h-pi.com/eop-ogolevets.html|Alexei Ogolevets]] (Ukraine, 1891 - 1967) was proposing in his List of Temperaments, in which the Armodue system fits very well in all these.
== Theory ==
However, its 23\39 fifth, 5.737 Cents sharp, is in much better tune than the Mavila fifth which like all Mavila fifths is very, very flat, in this case, 25 Cents flat. Together with its best third which is the familiar 400 cents of 12 equal, we get a system which tempers out the diesis, 128/125, and the amity comma, 1600000/1594323. We have two choices for a map for 7, but the sharp one works better with the 3 and 5, which adds 64/63 and 126/125 to the list. Tempering out both 128/125 and 64/63 makes 39EDO, in some few ways, allied to 12-ET in supporting augene temperament, and is in fact, an excellent choice for an augene tuning, but one difference is that 39 has a fine 11, and adding it to consideration we find that 39-EDO tempers out 99/98 and 121/120 also. This better choice for 39et is <39 62 91 110 135|.
39edo's [[3/2|perfect fifth]] is 5.8{{c}} sharp. Together with its best [[5/4|classical major third]] which is the familiar 400{{c}} of [[12edo]], we get a system which [[tempering out|tempers out]] the [[diesis]] (128/125) and the [[amity comma]] (1600000/1594323). We have two choices for a [[map]] for [[7/1|7]], but the sharp one works better with the [[3/1|3]] and [[5/1|5]], which adds [[64/63]] and [[126/125]] to the list. [[Tempering out]] both 128/125 and 64/63 makes 39et, in some few ways, allied to [[12et]] in [[support]]ing [[augene]], and is in fact, an excellent choice for an augene tuning, but one difference is that 39et has a fine [[11/1|11]], and adding it to consideration we find that the equal temperament tempers out [[99/98]] and [[121/120]] also. This choice for 39et is the 39d [[val]] {{val| 39 62 91 '''110''' 135 }}.
A particular anecdote with this 39 divisions per 2/1 was made in the Teliochordon, in 1788 by Charles Clagget (Ireland, 1740? - 1820), a little extract [[http://ml.oxfordjournals.org/content/76/2/291.extract.jpg|here]].
As a superpyth system, 39edo is intermediate between 17edo and 22edo (39 being 17+22). While 17edo is superb for melody (as documented by George Secor), it doesn't approximate the 5th harmonic at all and only poorly approximates the 7th. 22edo is much better for 5-limit and 7-limit harmony but is less effective for melody because the "diatonic semitone" is quarter-tone-sized, which results in a very strange-sounding diatonic scale. 39edo offers a compromise, since it still supports good 5- and 7-limit harmonies (though less close than 22edo), while at the same time having a diatonic semitone of 61.5 cents (the ideal diatonic semitone for melody being somewhere in between 60 and 80 cents, by Secor's estimates).
A particular anecdote with this system was made in the ''Teliochordon'', in 1788 by {{w|Charles Clagget}} (Ireland, 1740?–1820), a little extract [http://ml.oxfordjournals.org/content/76/2/291.extract.jpg here].
39edo offers not one, but many, possible ways of extending tonality beyond the diatonic scale, even if it doesn't do as good of a job at approximating JI as some other systems do. Because it can also approximate mavila as well as "anti-mavila" (oneirotonic), the latter of which it inherits from [[13edo]], this makes 39edo an extremely versatile temperament usable in a wide range of situations (both harmonic and inharmonic).
As a [[superpyth]] system, 39edo is intermediate between [[17edo]] and [[22edo]] {{nowrap|(39 {{=}} 17 + 22)}}; its fifth thus falls in the "shrub region" where the diatonic thirds are between standard neogothic thirds and septimal thirds. The specific 7-limit variant supported by 39et is [[quasisuper]]. While 17edo is superb for melody (as documented by [[George Secor]]), it does not approximate the 5th harmonic at all and only poorly approximates the 7th. 22edo is much better for 5-limit and 7-limit harmony but is less effective for melody because the [[diatonic semitone]] is [[quartertone]]-sized, which results in a very strange-sounding [[5L 2s|diatonic scale]]. 39edo offers a compromise, since it still supports good 5- and 7-limit harmonies (though less close than 22edo), while at the same time having a diatonic semitone of 61.5 cents, as the ideal diatonic semitone for melody is somewhere in between 60 and 80 cents, i.e. a third tone, by Secor's estimates.
Alternatively, if we take 22\39 as a fifth, 39edo can be used as a tuning of [[mavila]], and from that point of view it seems to have attracted the attention of the [[Armodue]] school, an Italian group that use the scheme of [[7L 2s|superdiatonic]] LLLsLLLLs like a base scale for notation and theory, suited in [[16edo]], and allied systems: [[25edo]] [1/3-tone 3;2]; [[41edo]] [1/5-tone 5;3]; and [[57edo]] [1/7-tone 7;4]. The [[hornbostel]] temperament is included too with: [[23edo]] [1/3-tone 3;1]; 39edo [1/5-tone 5;2] & [[62edo]] [1/8-tone 8;3]. The mavila fifth in 39edo like all mavila fifths is very, very flat, in this case, 25{{c}} flat.
==__**39-EDO Intervals**__==
39edo offers not one, but many, possible ways of extending tonality beyond the diatonic scale, even if it does not do as good of a job at approximating [[JI]] as some other systems do. Because it can also approximate [[mavila]] as well as "anti-mavila" ([[oneirotonic]]), the latter of which it inherits from [[13edo]], this makes 39edo an extremely versatile temperament usable in a wide range of situations (both harmonic and inharmonic).
[[xenharmonic/Ups and Downs Notation|notation]] ||~ **[[xenharmonic/Nearest just interval|Nearest Just I]]nterval** ||~ **Cents value** ||~ **Error** ||~ 11-limit Ratio Assuming
Chords can be named using ups and downs as C upminor, D downmajor seven, etc. See [[xenharmonic/Ups and Downs Notation#Chord%20names%20in%20other%20EDOs|Ups and Downs Notation - Chord names in other EDOs]].
==__Instruments (prototypes):__==
=== Octave stretch ===
39edo's approximations of harmonics 3, 5, 7, and 11 can all be improved by slightly [[octave shrinking|compressing the octave]], using tunings such as [[62edt]] or [[101ed6]]. [[equal tuning|18ed11/8]], a heavily compressed version of 39edo where the harmonics 13 and 17 are brought to tune at the cost of a worse 11, is also a possible choice.
There are also some nearby [[zeta peak index]] (ZPI) tunings which can be used for this same purpose: 171zpi, 172zpi and 173zpi. The main zeta peak index page details all three tunings.
Since 39 factors into {{nowrap| 3 × 13 }}, 39edo contains [[3edo]] and [[13edo]] as subsets. Multiplying 39edo by 2 yields [[78edo]], which corrects several harmonics.
==**__39 tone equal [[xenharmonic/modes|modes]]__:**==
39edo can be notated with [[ups and downs]], spoken as up, dup, dudsharp, downsharp, sharp, upsharp etc. and down, dud, dupflat etc. Note that dudsharp is equivalent to trup (triple-up) and dupflat is equivalent to trud (triple-down).
{{Sharpness-sharp5a}}
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}}
=== Sagittal notation ===
This notation uses the same sagittal sequence as [[46edo #Sagittal notation|46edo]].
39edo is a good candidate for a "universal tuning" in that it offers reasonable approximations of many different world music traditions; it is one of the simplest edos that can make this claim. Because of this, composers wishing to combine multiple world music traditions (for example, gamelan with maqam singing) within one unified framework would find 39edo an interesting possibility.
==== Evo flavor ====
<imagemap>
File:39-EDO_Evo_Sagittal.svg
desc none
rect 80 0 300 50 [[Sagittal_notation]]
rect 300 0 679 80 [https://sagittal.org#periodic-table Periodic table of EDOs with sagittal notation]
rect 20 80 120 106 [[81/80]]
rect 120 80 240 106 [[33/32]]
default [[File:39-EDO_Evo_Sagittal.svg]]
</imagemap>
===Western:===
==== Revo flavor ====
<imagemap>
File:39-EDO_Revo_Sagittal.svg
desc none
rect 80 0 300 50 [[Sagittal_notation]]
rect 300 0 655 80 [https://sagittal.org#periodic-table Periodic table of EDOs with sagittal notation]
rect 20 80 120 106 [[81/80]]
rect 120 80 240 106 [[33/32]]
default [[File:39-EDO_Revo_Sagittal.svg]]
</imagemap>
39edo offers not one, but several different ways to realize the traditional Western diatonic scale. One way is to simply take a chain of fifths (the diatonic MOS: **7 7 2 7 7 7 2**). Because 39edo is a superpyth rather than a meantone system, this means that the harmonic quality of its diatonic scale will differ somewhat, since "minor" and "major" triads now approximate 6:7:9 and 14:18:21 respectively, rather than 10:12:15 and 4:5:6 as in meantone diatonic systems. Diatonic compositions translated onto this scale thus acquire a wildly different harmonic character, albeit still very pleasing.
=== Armodue notation ===
; Armodue nomenclature 5;2 relation
* '''‡''' = Semisharp (1/5-tone up)
* '''b''' = Flat (3/5-tone down)
* '''#''' = Sharp (3/5-tone up)
* '''v''' = Semiflat (1/5-tone down)
Another option is to use a MODMOS, such as **7 6 3 7 6 7 3**; this scale enables us to continue using pental rather than septimal thirds, but it has a false (wolf) fifth. When translating diatonic compositions into this scale, the wolf fifth can be avoided by introducing accidental notes when necessary. There are other MODMOS's that combine both pental and septimal harmonies. As such, a single Western classical or pop composition can be translated into 39edo in //many// different ways, acquiring a distinctly different but still harmonious character each time.
The MOS and the MODMOS's all have smaller-than-usual semitones, which makes them more effective for melody than their counterparts in 12edo or meantone systems.
== Regular temperament properties ==
{| class="wikitable center-4 center-5 center-6"
|-
! rowspan="2" | [[Subgroup]]
! rowspan="2" | [[Comma list]]
! rowspan="2" | [[Mapping]]
! rowspan="2" | Optimal <br>8ve stretch (¢)
! colspan="2" | Tuning error
|-
! [[TE error|Absolute]] (¢)
! [[TE simple badness|Relative]] (%)
|-
| 2.3
| {{Monzo| 62 -39 }}
| {{Mapping| 39 62 }}
| −1.81
| 1.81
| 5.88
|-
| 2.3.5
| 128/125, 1594323/1562500
| {{Mapping| 39 62 91 }}
| −3.17
| 2.42
| 7.89
|-
| 2.3.5.7
| 64/63, 126/125, 2430/2401
| {{Mapping| 39 62 91 110 }} (39d)
| −3.78
| 2.35
| 7.65
|-
| 2.3.5.7.11
| 64/63, 99/98, 121/120, 126/125
| {{Mapping| 39 62 91 110 135 }} (39d)
| −3.17
| 2.43
| 7.91
|}
Because 39edo and 12edo both have an overall sharp character and share the same major third, they have a relatively similar sound. Thus, 39edo (unlike, say, 22edo or 19edo, which are both "acquired tastes") does not sound all that xenharmonic to people used to 12edo. Check out [[https://www.prismnet.com/~hmiller/midi/canon39.mid|Pachelbel's Canon in 39edo]] (using the **7 6 3 7 6 7 3** MODMOS), for example.
=== Rank-2 temperaments ===
{| class="wikitable center-all left-4 left-5"
|+ style="font-size: 105%;" | Table of rank-2 temperaments by generator
<nowiki/>* [[Normal lists|Octave-reduced form]], reduced to the first half-octave, and [[normal lists|minimal form]] in parentheses if distinct
===**Indian:**===
== 39edo and world music ==
39edo is a good candidate for a "universal tuning" in that it offers reasonable approximations of many different world music [[approaches to musical tuning|traditions]]; it is one of the simplest edos that can make this claim. Because of this, composers wishing to combine multiple world music traditions (for example, [[gamelan]] with [[maqam]] singing) within one unified framework might find 39edo an interesting possibility.
A similar situation arises with Indian music since the sruti system, like the Western system, also has multiple possible mappings in 39edo. Many of these are modified versions of the 17L 5s MOS (where the generator is a perfect fifth).
=== Western ===
39edo offers not one, but several different ways to realize the traditional Western diatonic scale. One way is to simply take a [[chain of fifths]] (the diatonic mos: 7 7 2 7 7 7 2). Because 39edo is a [[superpyth]] rather than a [[meantone]] system, this means that the harmonic quality of its diatonic scale will differ somewhat, since "minor" and "major" triads now approximate 6:7:9 and 14:18:21 respectively, rather than 10:12:15 and 4:5:6 as in meantone diatonic systems. Diatonic compositions translated onto this scale thus acquire a wildly different harmonic character, albeit still pleasing.
===**[[Arabic, Turkish, Persian]]:**===
Another option is to use a [[modmos]], such as 7 6 3 7 6 7 3; this scale enables us to continue using [[5-limit|pental]] rather than [[7-limit|septimal]] thirds, but it has a false ([[wolf interval|wolf]]) fifth. When translating diatonic compositions into this scale, it is possible to avoid the wolf fifth by introducing accidental notes when necessary. It is also possible to avoid the wolf fifth by extending the scale to either 7 3 3 3 7 3 3 7 3 (a [[modmos]] of type [[3L 6s]]) or 4 3 6 3 4 3 6 4 3 3. There are other modmos scales that combine both pental and septimal harmonies. As such, a single Western classical or pop composition can be translated into 39edo in ''many'' different ways, acquiring a distinctly different but still harmonious character each time.
While middle-eastern music is commonly approximated using 24edo, 39edo offers a potentially better alternative. 17edo and 24edo both satisfy the "Level 1" requirements for maqam tuning sytems. 39edo is a Level 2 system because:
The mos and the modmos scales all have smaller-than-usual [[semitone (interval region)|semitones]], which makes them more effective for melody than their counterparts in 12edo or meantone systems.
Because 39edo and 12edo both have an overall sharp character and share the same major third, they have a relatively similar sound. Thus, 39edo (unlike, say, 22edo or 19edo, which are both "acquired tastes") does not sound all that [[xenharmonic]] to people used to 12edo. Check out [https://www.prismnet.com/~hmiller/midi/canon39.mid Pachelbel's Canon in 39edo] (using the 7 6 3 7 6 7 3 modmos), for example.
=== Indian ===
A similar situation arises with [[Indian music]] since the sruti system, like the Western system, also has multiple possible mappings in 39edo. Many of these are modified versions of the [[17L 5s]] MOS (where the generator is a perfect fifth).
=== Arabic, Turkish, Iranian ===
While [[Arabic, Turkish, Persian music|middle-eastern music]] is commonly approximated using [[24edo]], 39edo offers a potentially better alternative. [[17edo]] and 24edo both satisfy the "Level 1" requirements for [[maqam]] tuning systems. 39edo is a Level 2 system because:
* It has two types of "neutral" seconds (154 and 185 cents)
* It has two types of "neutral" seconds (154 and 185 cents)
Line 148:
Line 915:
39edo will likely be more suited to some middle-eastern scales than others. Specifically, Turkish music (in which the Rast makam has a "major-like" wide neutral third and a wide "neutral" second approaching 10/9), will likely be especially well suited to 39edo.
39edo will likely be more suited to some middle-eastern scales than others. Specifically, Turkish music (in which the Rast makam has a "major-like" wide neutral third and a wide "neutral" second approaching 10/9), will likely be especially well suited to 39edo.
===**Blues / Jazz / African-American:**===
=== Blues / Jazz / African-American ===
The [[harmonic seventh]] ("[[barbershop]] seventh") [[tetrad]] is reasonably well approximated in 39edo, and some temperaments (augene in particular) give scales that are liberally supplied with them. John Coltrane might have loved augene (→ [[Wikipedia: Coltrane changes]]).
[[Tritone]] substitution, which is a major part of jazz and blues harmony, is more complicated in 39edo because there are two types of tritones. Therefore, the tritone substitution of one seventh chord will need to be a different type of seventh chord. However, this also opens new possibilities; if the substituted chord is of a more consonant type than the original, then the tritone substitution may function as a ''resolution'' rather than a suspension.
Blue notes, rather than being considered inflections, can be notated as accidentals instead; for example, a "blue major third" can be identified as either of the two neutral thirds. There are two possible [[mapping]]s for [[7/4]] which are about equal in closeness. The sharp mapping is the normal one because it works better with the [[5/4]] and [[3/2]], but using the flat one instead (as an accidental) allows for another type of blue note.
=== Other ===
39edo offers approximations of [[pelog]] and [[mavila]] using the flat fifth as a generator. Pelog can also be approximated as 4 5 13 4 13.
It also offers ''many'' possible [[pentatonic]] scales, including the [[2L 3s]] mos (which is 9 7 7 9 7). [[Slendro]] can be approximated using that scale or using something like the [[quasi-equal]] 8 8 8 8 7 or 8 8 7 8 8.
One expressive [[pentatonic]] scale is the oneirotonic subset 9 6 9 9 6.
Many Asian{{clarify|which ones specifically}} and [[African music|African]] {{clarify|which ones specifically}} musical styles can thus be accommodated.
== Instruments ==
=== Lumatone mapping ===
See [[Lumatone mapping for 39edo]]
=== Skip fretting ===
'''Skip fretting system 39 2 5''' is a [[skip-fretting]] system for [[39edo]]. All examples on this page are for 7-string [[Guitar|guitar.]]
; Prime harmonics
1/1: string 2 open
2/1: string 5 fret 12 and string 7 fret 7
The harmonic seventh ("barbershop seventh") tetrad is reasonably well approximated in 39edo, and some temperaments (augene in particular) give scales that are liberally supplied with them. John Coltrane [[https://en.wikipedia.org/wiki/Coltrane_changes|would have loved augene]].
3/2: string 3 fret 9 and string 5 fret 4
Tritone substitution, which is a major part of jazz and blues harmony, is more complicated in 39edo because there are two types of tritones. Therefore the tritone substitution of one seventh chord will need to be a different type of seventh chord. However, this also opens new possibilities; if the substituted chord is of a more consonant type than the original, then the tritone substitution may function as a //resolution// rather than a suspension.
5/4: string 1 fret 9 and string 3 fret 4
Blue notes, rather than being considered inflections, can be notated as accidentals instead; for example, a "blue major third" can be identified as either of the two neutral thirds. There are two possible mappings for 7:4 which are about equal in closeness. The sharp mapping is the normal one because it works better with the 5:4 and 3:2, but using the flat one instead (as an accidental) allows for another type of blue note.
7/4: string 5 fret 8 and string 7 fret 3
===Other:===
11/8: string 2 fret 9 and string 4 fret 4
39edo offers a good approximation of pelog / mavila using the flat fifth as a generator.
It also offers //many// possible pentatonic scales, including the 2L+3S MOS (which is **9 7 7 9 7**). Slendro can be approximated using this scale or using something like the quasi-equal **8 8 8 8 7**. A more expressive pentatonic scale is the oneirotonic subset **9 6 9 9 6**. Many Asian and African musical styles can thus be accomodated.</pre></div>
<strong>39-EDO, 39-ED2</strong> or <strong>39-tET</strong> divides the Octave (Ditave 2/1) in 39 equal parts of 30.76923 Cents each one. If we take 22\39 as a fifth, can be used in Mavila Temperament, and from that point of view seems to have attracted the attention of the Armodue school, an Italian group that use the scheme of <a class="wiki_link" href="http://xenharmonic.wikispaces.com/7L%202s">Superdiatonic</a> LLLsLLLLs like a basical scale for notation and theory, suited in <a class="wiki_link" href="http://xenharmonic.wikispaces.com/16edo">16-ED2</a>, and allied systems: <a class="wiki_link" href="http://xenharmonic.wikispaces.com/25edo">25-ED2</a> [1/3-tone 3;2]; <a class="wiki_link" href="http://xenharmonic.wikispaces.com/41edo">41-ED2</a> [1/5-tone 5;3]; and <a class="wiki_link" href="http://xenharmonic.wikispaces.com/57edo">57</a> ED2 [1/7-tone 7;4]. <strong>Hornbostel Temperaments</strong> is included too with: <a class="wiki_link" href="http://xenharmonic.wikispaces.com/23edo">23-ED2</a> [1/3-tone 3;1]; 39-ED2 [1/5-tone 5;2] &amp; <a class="wiki_link" href="http://xenharmonic.wikispaces.com/62edo">62-ED2</a> [1/8-tone 8;3]. <a class="wiki_link" href="/223edo">223-ED2</a>, the best accuracy for Hornbostel temperament fits very good with Armodue like 1/29-tone 29;10 version. Note that <a class="wiki_link" href="/101edo">101</a>, <a class="wiki_link" href="/131edo">131</a>, <a class="wiki_link" href="/177edo">177</a> &amp; <a class="wiki_link" href="/200edo">200</a> ED2s are tempered systems that <a class="wiki_link_ext" href="http://www.h-pi.com/eop-ogolevets.html" rel="nofollow">Alexei Ogolevets</a> (Ukraine, 1891 - 1967) was proposing in his List of Temperaments, in which the Armodue system fits very well in all these.<br />
However, its 23\39 fifth, 5.737 Cents sharp, is in much better tune than the Mavila fifth which like all Mavila fifths is very, very flat, in this case, 25 Cents flat. Together with its best third which is the familiar 400 cents of 12 equal, we get a system which tempers out the diesis, 128/125, and the amity comma, 1600000/1594323. We have two choices for a map for 7, but the sharp one works better with the 3 and 5, which adds 64/63 and 126/125 to the list. Tempering out both 128/125 and 64/63 makes 39EDO, in some few ways, allied to 12-ET in supporting augene temperament, and is in fact, an excellent choice for an augene tuning, but one difference is that 39 has a fine 11, and adding it to consideration we find that 39-EDO tempers out 99/98 and 121/120 also. This better choice for 39et is &lt;39 62 91 110 135|.<br />
A particular anecdote with this 39 divisions per 2/1 was made in the Teliochordon, in 1788 by Charles Clagget (Ireland, 1740? - 1820), a little extract <a class="wiki_link_ext" href="http://ml.oxfordjournals.org/content/76/2/291.extract.jpg" rel="nofollow">here</a>.<br />
<br />
As a superpyth system, 39edo is intermediate between 17edo and 22edo (39 being 17+22). While 17edo is superb for melody (as documented by George Secor), it doesn't approximate the 5th harmonic at all and only poorly approximates the 7th. 22edo is much better for 5-limit and 7-limit harmony but is less effective for melody because the &quot;diatonic semitone&quot; is quarter-tone-sized, which results in a very strange-sounding diatonic scale. 39edo offers a compromise, since it still supports good 5- and 7-limit harmonies (though less close than 22edo), while at the same time having a diatonic semitone of 61.5 cents (the ideal diatonic semitone for melody being somewhere in between 60 and 80 cents, by Secor's estimates).<br />
<br />
39edo offers not one, but many, possible ways of extending tonality beyond the diatonic scale, even if it doesn't do as good of a job at approximating JI as some other systems do. Because it can also approximate mavila as well as &quot;anti-mavila&quot; (oneirotonic), the latter of which it inherits from <a class="wiki_link" href="/13edo">13edo</a>, this makes 39edo an extremely versatile temperament usable in a wide range of situations (both harmonic and inharmonic).<br />
Chords can be named using ups and downs as C upminor, D downmajor seven, etc. See <a class="wiki_link" href="http://xenharmonic.wikispaces.com/Ups%20and%20Downs%20Notation#Chord%20names%20in%20other%20EDOs">Ups and Downs Notation - Chord names in other EDOs</a>.<br />
<!-- ws:start:WikiTextHeadingRule:8:&lt;h2&gt; --><h2 id="toc4"><a name="x39 tone equal temperament-39edo and world music:"></a><!-- ws:end:WikiTextHeadingRule:8 --><strong><u>39edo and world music:</u></strong></h2>
<br />
39edo is a good candidate for a &quot;universal tuning&quot; in that it offers reasonable approximations of many different world music traditions; it is one of the simplest edos that can make this claim. Because of this, composers wishing to combine multiple world music traditions (for example, gamelan with maqam singing) within one unified framework would find 39edo an interesting possibility.<br />
<br />
<!-- ws:start:WikiTextHeadingRule:10:&lt;h3&gt; --><h3 id="toc5"><a name="x39 tone equal temperament-39edo and world music:-Western:"></a><!-- ws:end:WikiTextHeadingRule:10 -->Western:</h3>
<br />
39edo offers not one, but several different ways to realize the traditional Western diatonic scale. One way is to simply take a chain of fifths (the diatonic MOS: <strong>7 7 2 7 7 7 2</strong>). Because 39edo is a superpyth rather than a meantone system, this means that the harmonic quality of its diatonic scale will differ somewhat, since &quot;minor&quot; and &quot;major&quot; triads now approximate 6:7:9 and 14:18:21 respectively, rather than 10:12:15 and 4:5:6 as in meantone diatonic systems. Diatonic compositions translated onto this scale thus acquire a wildly different harmonic character, albeit still very pleasing.<br />
<br />
Another option is to use a MODMOS, such as <strong>7 6 3 7 6 7 3</strong>; this scale enables us to continue using pental rather than septimal thirds, but it has a false (wolf) fifth. When translating diatonic compositions into this scale, the wolf fifth can be avoided by introducing accidental notes when necessary. There are other MODMOS's that combine both pental and septimal harmonies. As such, a single Western classical or pop composition can be translated into 39edo in <em>many</em> different ways, acquiring a distinctly different but still harmonious character each time.<br />
<br />
The MOS and the MODMOS's all have smaller-than-usual semitones, which makes them more effective for melody than their counterparts in 12edo or meantone systems.<br />
<br />
Because 39edo and 12edo both have an overall sharp character and share the same major third, they have a relatively similar sound. Thus, 39edo (unlike, say, 22edo or 19edo, which are both &quot;acquired tastes&quot;) does not sound all that xenharmonic to people used to 12edo. Check out <a class="wiki_link_ext" href="https://www.prismnet.com/~hmiller/midi/canon39.mid" rel="nofollow">Pachelbel's Canon in 39edo</a> (using the <strong>7 6 3 7 6 7 3</strong> MODMOS), for example.<br />
<br />
<!-- ws:start:WikiTextHeadingRule:12:&lt;h3&gt; --><h3 id="toc6"><a name="x39 tone equal temperament-39edo and world music:-Indian:"></a><!-- ws:end:WikiTextHeadingRule:12 --><strong>Indian:</strong></h3>
<br />
A similar situation arises with Indian music since the sruti system, like the Western system, also has multiple possible mappings in 39edo. Many of these are modified versions of the 17L 5s MOS (where the generator is a perfect fifth).<br />
<br />
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While middle-eastern music is commonly approximated using 24edo, 39edo offers a potentially better alternative. 17edo and 24edo both satisfy the &quot;Level 1&quot; requirements for maqam tuning sytems. 39edo is a Level 2 system because:<br />
<br />
<ul><li>It has two types of &quot;neutral&quot; seconds (154 and 185 cents)</li><li>It has two minor seconds (92 and 123 cents), which when added together give a whole tone (215 cents)</li></ul><br />
whereas neither 17edo nor 24edo satisfy these properties.<br />
<br />
39edo will likely be more suited to some middle-eastern scales than others. Specifically, Turkish music (in which the Rast makam has a &quot;major-like&quot; wide neutral third and a wide &quot;neutral&quot; second approaching 10/9), will likely be especially well suited to 39edo.<br />
<br />
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The harmonic seventh (&quot;barbershop seventh&quot;) tetrad is reasonably well approximated in 39edo, and some temperaments (augene in particular) give scales that are liberally supplied with them. John Coltrane <a class="wiki_link_ext" href="https://en.wikipedia.org/wiki/Coltrane_changes" rel="nofollow">would have loved augene</a>.<br />
<br />
Tritone substitution, which is a major part of jazz and blues harmony, is more complicated in 39edo because there are two types of tritones. Therefore the tritone substitution of one seventh chord will need to be a different type of seventh chord. However, this also opens new possibilities; if the substituted chord is of a more consonant type than the original, then the tritone substitution may function as a <em>resolution</em> rather than a suspension.<br />
<br />
Blue notes, rather than being considered inflections, can be notated as accidentals instead; for example, a &quot;blue major third&quot; can be identified as either of the two neutral thirds. There are two possible mappings for 7:4 which are about equal in closeness. The sharp mapping is the normal one because it works better with the 5:4 and 3:2, but using the flat one instead (as an accidental) allows for another type of blue note.<br />
<br />
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39edo offers a good approximation of pelog / mavila using the flat fifth as a generator.<br />
<br />
It also offers <em>many</em> possible pentatonic scales, including the 2L+3S MOS (which is <strong>9 7 7 9 7</strong>). Slendro can be approximated using this scale or using something like the quasi-equal <strong>8 8 8 8 7</strong>. A more expressive pentatonic scale is the oneirotonic subset <strong>9 6 9 9 6</strong>. Many Asian and African musical styles can thus be accomodated.</body></html></pre></div>
39 equal divisions of the octave (abbreviated 39edo or 39ed2), also called 39-tone equal temperament (39tet) or 39 equal temperament (39et) when viewed under a regular temperament perspective, is the tuning system that divides the octave into 39 equal parts of about 30.8 ¢ each. Each step represents a frequency ratio of 21/39, or the 39th root of 2.
39edo's perfect fifth is 5.8 ¢ sharp. Together with its best classical major third which is the familiar 400 ¢ of 12edo, we get a system which tempers out the diesis (128/125) and the amity comma (1600000/1594323). We have two choices for a map for 7, but the sharp one works better with the 3 and 5, which adds 64/63 and 126/125 to the list. Tempering out both 128/125 and 64/63 makes 39et, in some few ways, allied to 12et in supportingaugene, and is in fact, an excellent choice for an augene tuning, but one difference is that 39et has a fine 11, and adding it to consideration we find that the equal temperament tempers out 99/98 and 121/120 also. This choice for 39et is the 39d val⟨39 62 91 110 135].
A particular anecdote with this system was made in the Teliochordon, in 1788 by Charles Clagget (Ireland, 1740?–1820), a little extract here.
As a superpyth system, 39edo is intermediate between 17edo and 22edo(39 = 17 + 22); its fifth thus falls in the "shrub region" where the diatonic thirds are between standard neogothic thirds and septimal thirds. The specific 7-limit variant supported by 39et is quasisuper. While 17edo is superb for melody (as documented by George Secor), it does not approximate the 5th harmonic at all and only poorly approximates the 7th. 22edo is much better for 5-limit and 7-limit harmony but is less effective for melody because the diatonic semitone is quartertone-sized, which results in a very strange-sounding diatonic scale. 39edo offers a compromise, since it still supports good 5- and 7-limit harmonies (though less close than 22edo), while at the same time having a diatonic semitone of 61.5 cents, as the ideal diatonic semitone for melody is somewhere in between 60 and 80 cents, i.e. a third tone, by Secor's estimates.
Alternatively, if we take 22\39 as a fifth, 39edo can be used as a tuning of mavila, and from that point of view it seems to have attracted the attention of the Armodue school, an Italian group that use the scheme of superdiatonic LLLsLLLLs like a base scale for notation and theory, suited in 16edo, and allied systems: 25edo [1/3-tone 3;2]; 41edo [1/5-tone 5;3]; and 57edo [1/7-tone 7;4]. The hornbostel temperament is included too with: 23edo [1/3-tone 3;1]; 39edo [1/5-tone 5;2] & 62edo [1/8-tone 8;3]. The mavila fifth in 39edo like all mavila fifths is very, very flat, in this case, 25 ¢ flat.
39edo offers not one, but many, possible ways of extending tonality beyond the diatonic scale, even if it does not do as good of a job at approximating JI as some other systems do. Because it can also approximate mavila as well as "anti-mavila" (oneirotonic), the latter of which it inherits from 13edo, this makes 39edo an extremely versatile temperament usable in a wide range of situations (both harmonic and inharmonic).
39edo's approximations of harmonics 3, 5, 7, and 11 can all be improved by slightly compressing the octave, using tunings such as 62edt or 101ed6. 18ed11/8, a heavily compressed version of 39edo where the harmonics 13 and 17 are brought to tune at the cost of a worse 11, is also a possible choice.
There are also some nearby zeta peak index (ZPI) tunings which can be used for this same purpose: 171zpi, 172zpi and 173zpi. The main zeta peak index page details all three tunings.
Subsets and supersets
Since 39 factors into 3 × 13, 39edo contains 3edo and 13edo as subsets. Multiplying 39edo by 2 yields 78edo, which corrects several harmonics.
39edo can be notated with ups and downs, spoken as up, dup, dudsharp, downsharp, sharp, upsharp etc. and down, dud, dupflat etc. Note that dudsharp is equivalent to trup (triple-up) and dupflat is equivalent to trud (triple-down).
39edo is a good candidate for a "universal tuning" in that it offers reasonable approximations of many different world music traditions; it is one of the simplest edos that can make this claim. Because of this, composers wishing to combine multiple world music traditions (for example, gamelan with maqam singing) within one unified framework might find 39edo an interesting possibility.
Western
39edo offers not one, but several different ways to realize the traditional Western diatonic scale. One way is to simply take a chain of fifths (the diatonic mos: 7 7 2 7 7 7 2). Because 39edo is a superpyth rather than a meantone system, this means that the harmonic quality of its diatonic scale will differ somewhat, since "minor" and "major" triads now approximate 6:7:9 and 14:18:21 respectively, rather than 10:12:15 and 4:5:6 as in meantone diatonic systems. Diatonic compositions translated onto this scale thus acquire a wildly different harmonic character, albeit still pleasing.
Another option is to use a modmos, such as 7 6 3 7 6 7 3; this scale enables us to continue using pental rather than septimal thirds, but it has a false (wolf) fifth. When translating diatonic compositions into this scale, it is possible to avoid the wolf fifth by introducing accidental notes when necessary. It is also possible to avoid the wolf fifth by extending the scale to either 7 3 3 3 7 3 3 7 3 (a modmos of type 3L 6s) or 4 3 6 3 4 3 6 4 3 3. There are other modmos scales that combine both pental and septimal harmonies. As such, a single Western classical or pop composition can be translated into 39edo in many different ways, acquiring a distinctly different but still harmonious character each time.
The mos and the modmos scales all have smaller-than-usual semitones, which makes them more effective for melody than their counterparts in 12edo or meantone systems.
Because 39edo and 12edo both have an overall sharp character and share the same major third, they have a relatively similar sound. Thus, 39edo (unlike, say, 22edo or 19edo, which are both "acquired tastes") does not sound all that xenharmonic to people used to 12edo. Check out Pachelbel's Canon in 39edo (using the 7 6 3 7 6 7 3 modmos), for example.
Indian
A similar situation arises with Indian music since the sruti system, like the Western system, also has multiple possible mappings in 39edo. Many of these are modified versions of the 17L 5s MOS (where the generator is a perfect fifth).
Arabic, Turkish, Iranian
While middle-eastern music is commonly approximated using 24edo, 39edo offers a potentially better alternative. 17edo and 24edo both satisfy the "Level 1" requirements for maqam tuning systems. 39edo is a Level 2 system because:
It has two types of "neutral" seconds (154 and 185 cents)
It has two minor seconds (92 and 123 cents), which when added together give a whole tone (215 cents)
whereas neither 17edo nor 24edo satisfy these properties.
39edo will likely be more suited to some middle-eastern scales than others. Specifically, Turkish music (in which the Rast makam has a "major-like" wide neutral third and a wide "neutral" second approaching 10/9), will likely be especially well suited to 39edo.
Blues / Jazz / African-American
The harmonic seventh ("barbershop seventh") tetrad is reasonably well approximated in 39edo, and some temperaments (augene in particular) give scales that are liberally supplied with them. John Coltrane might have loved augene (→ Wikipedia: Coltrane changes).
Tritone substitution, which is a major part of jazz and blues harmony, is more complicated in 39edo because there are two types of tritones. Therefore, the tritone substitution of one seventh chord will need to be a different type of seventh chord. However, this also opens new possibilities; if the substituted chord is of a more consonant type than the original, then the tritone substitution may function as a resolution rather than a suspension.
Blue notes, rather than being considered inflections, can be notated as accidentals instead; for example, a "blue major third" can be identified as either of the two neutral thirds. There are two possible mappings for 7/4 which are about equal in closeness. The sharp mapping is the normal one because it works better with the 5/4 and 3/2, but using the flat one instead (as an accidental) allows for another type of blue note.
Other
39edo offers approximations of pelog and mavila using the flat fifth as a generator. Pelog can also be approximated as 4 5 13 4 13.
It also offers many possible pentatonic scales, including the 2L 3s mos (which is 9 7 7 9 7). Slendro can be approximated using that scale or using something like the quasi-equal 8 8 8 8 7 or 8 8 7 8 8.
One expressive pentatonic scale is the oneirotonic subset 9 6 9 9 6.
