1-3-5-9-81 dekany: Difference between revisions
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[[File:1-3-5-9-81_Dekany.png|thumb|Circle diagram.]] | |||
A [[5-limit]] [[Dekany]] comprised of four simple numbers and one more complex one. This creates a scale of 1 135/128 9/8 5/4 81/64 3/2 5/3 27/16 15/18 243/128, with steps of 135/128 16/15 10/9 81/80 32/27 10/9 81/80 10/9 81/80 256/243. This creates a near-diatonic scale that instead of tempering out the syntonic comma, emphasises it, with three of the notes having [[3-limit]] and 5-limit variants that you can use to either create or evade dissonance. Since it lacks any kind of fourth, most diatonic music does not translate directly to it, but there are still many major and minor chords available, each with multiple variants that mean it should be possible to compose songs that would sound pleasing to listeners unfamiliar with microtonality rather than simply ambient pieces using this tuning. | A [[5-limit]] [[Dekany]] comprised of four simple numbers and one more complex one. This creates a scale of 1 135/128 9/8 5/4 81/64 3/2 5/3 27/16 15/18 243/128, with steps of 135/128 16/15 10/9 81/80 32/27 10/9 81/80 10/9 81/80 256/243. This creates a near-diatonic scale that instead of tempering out the syntonic comma, emphasises it, with three of the notes having [[3-limit]] and 5-limit variants that you can use to either create or evade dissonance. Since it lacks any kind of fourth, most diatonic music does not translate directly to it, but there are still many major and minor chords available, each with multiple variants that mean it should be possible to compose songs that would sound pleasing to listeners unfamiliar with microtonality rather than simply ambient pieces using this tuning. | ||
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Latest revision as of 08:20, 5 October 2025
A 5-limit Dekany comprised of four simple numbers and one more complex one. This creates a scale of 1 135/128 9/8 5/4 81/64 3/2 5/3 27/16 15/18 243/128, with steps of 135/128 16/15 10/9 81/80 32/27 10/9 81/80 10/9 81/80 256/243. This creates a near-diatonic scale that instead of tempering out the syntonic comma, emphasises it, with three of the notes having 3-limit and 5-limit variants that you can use to either create or evade dissonance. Since it lacks any kind of fourth, most diatonic music does not translate directly to it, but there are still many major and minor chords available, each with multiple variants that mean it should be possible to compose songs that would sound pleasing to listeners unfamiliar with microtonality rather than simply ambient pieces using this tuning.
! 1-3-5-9-81_Dekany.scl ! 1 3 5 9 81 2-combination Dekany 10 ! 135/128 9/8 5/4 81/64 3/2 5/3 27/16 15/8 243/128 2/1
Suggested keyboard mapping: C Db D Eb E G Ab A Bd B C. Note that this keeps the 3-limit intervals on the white notes and the 5-limit ones on the black notes, which makes navigation more intuitive. If you want to fill in the blank notes to expand it to a full 12 note scale, putting 4/3 on the F and 45/32 on the F# makes most sense.