5edo: Difference between revisions

Contribution (talk | contribs)
No edit summary
Intervals: Last formatting fix worked — do same thing for 91/60, and add its octave complement
 
(8 intermediate revisions by 4 users not shown)
Line 14: Line 14:
[[File:5edo scale.mp3|thumb|A chromatic 5edo scale on C.]]
[[File:5edo scale.mp3|thumb|A chromatic 5edo scale on C.]]


5edo is the basic example of an [[equipentatonic]] scale, containing a sharp but usable [[Perfect fifth (interval region)|perfect fifth]], and can be seen as a simplified form of the familiar [[pentic]] scale. Tertian harmony is possible in 5edo, but barely: the only chords available are suspended chords, which [[Extraclassical tonality|may also be seen as]] inframinor (very flat minor) and ultramajor (very sharp major) chords, due to how sharp the fifth is. As a result, many triads will share the same three notes, so rootedness is much more important to explicitly establish.
5edo is the smallest edo that contains a usable [[Perfect fifth (interval region)|perfect fifth]] at 720{{Cent}}, being 18{{C}} sharp of a [[just]]ly tuned [[3/2]] ratio at 702{{C}}. As such, it is the smallest edo where elements of traditional music theory begin to make sense.


In terms of just intonation, 5edo represents the perfect fifth 3/2 and harmonic seventh 7/4 rather accurately for how wide the steps are, with 3 being about 20 cents sharp, and 7 being about 10 cents flat. In 5edo, the perfect fifth is 3 steps, meaning it can be divided into 3 equal parts, each representing the supermajor second 8/7. This is [[slendric]] temperament. Two of these parts make the perfect fourth [[4/3]], which is [[semaphore]] temperament, and finally the harmonic seventh may be found by going up two perfect fourths, which is [[superpyth]] or "archy" temperament. This all means that 5edo contains a very simplified form of the [[2.3.7 subgroup]], and many scales in 2.3.7 take a pentatonic form.
The 720{{C}} fifth generates an [[equalized]] tuning of the [[pentic]] (2L 3s) scale, where every step is the same size at 240{{C}}, or one step of 5edo. It also generates a [[collapsed]] tuning of the [[diatonic]] (5L 2s) scale, where the [[diatonic semitone]] or minor second is mapped to 0 steps, meaning that E and F as well as B and C are the same note in 5edo.


With more complex intervals, however, 5edo becomes increasingly inaccurate. For example, the supermajor third 9/7 is the same interval as the perfect fourth, which is a rather inaccurate equivalence (specifically, [[Trienstonic clan|trienstonic]] temperament). However, this can still be used as a third, as referenced in the top paragraph.  
5edo is the basic example of an [[equipentatonic]] scale, as in 5edo all steps are exactly the same size.


If we extend our scope to the full 7-limit (including 5, and thus conventional major and minor thirds), then the most salient fact is that the best approximation of the major third 5/4 is extremely inaccurate, almost a full semitone sharper than just. This results in 5edo supporting several [[Exotemperament|exotemperaments]] when intervals of 5 are introduced. For example, the best 5/4 of 480 cents is in fact the same interval as 4/3, meaning that the semitone that usually separates them, [[16/15]], is [[tempered out]] (which is the very inaccurate [[father]] temperament).
{{W|Tertian harmony}} is also possible in 5edo, but barely: the only chords available are suspended chords, which may also be seen as inframinor (very flat minor) and ultramajor (very sharp major) chords, also known as [[Extraclassical tonality|arto and tendo]] chords, due to how sharp the fifth is. As a result, many triads will share the same three notes, so rootedness is much more important to explicitly establish.


Exploring more complex intervals, we find that the minor tone [[10/9]] and the minor third [[6/5]] are best mapped to the same step of 240 cents, meaning that the semitone separating them, [[27/25]], is tempered out as well - this is [[bug]] temperament, which is a little more perverse even than father.  
In terms of just intonation, besides the perfect fifth, 5edo also contains a relatively accurate approximation the harmonic seventh [[7/4]] at 4 steps (960{{C}}), being 8.8{{C}} flat of just. 5edo can thus be used as a simplified version of the [[2.3.7 subgroup]], and defines much of its underlying structure. For example, in 5edo, the perfect fifth is 3 steps, meaning it can be divided into 3 equal parts, each representing the supermajor second [[8/7]]. This is known as [[slendric]] temperament, where [[1029/1024]], the gamelisma, is tempered out. Two intervals of [[7/6]] or 8/7 make the perfect fourth [[4/3]], tempering out [[49/48]], known as [[semaphore]] temperament. Finally, the harmonic seventh may be found by going up two perfect fourths, tempering out [[64/63]], which is [[superpyth]] temperament (sometimes known as ''archy'' in the 2.3.7 subgroup).


Because these intervals are so large, this sort of analysis is less significant with 5edo than it becomes with larger and more accurate divisions, but it still plays a role. For example, if we attempt to analyze 5edo as supporting standard [[Diatonic functional harmony|diatonic harmony]], I–IV–V–I is the same as I–III–V–I and involves triads with common intervals because of fourth-thirds equivalence.
With more complex intervals, however, 5edo becomes increasingly inaccurate. For example, the supermajor third [[9/7]] is mapped very sharply to 480{{C}}, which is the same interval as the perfect fourth. Thus [[28/27]] is tempered out, leading to the rather inaccurate [[Trienstonic clan|trienstonic]] temperament. However, this interval can still be used as a third, as referenced above.  


If 5edo is taken as only a tuning of the 3-limit, we find that the circle of fifths returns to the unison after only 5 steps, rather than 12. This is called [[blackwood]] temperament, and in 5edo, this is a "good" tuning of a circle of fifths - more formally, since the comma being tempered out, the semitone 256/243, is smaller than half a step (120 cents), 5edo demonstrates [[Telicity|3-to-2 telicity]] (and is the third EDO to do so after [[1edo]] and [[2edo]]).  
If we attempt to add prime [[5/1|5]] to the mix and extend 5et to the full [[7-limit]], then the major third [[5/4]] is mapped very sharply to 2 steps (480{{C}}), almost a full semitone sharper than the just 5/4 at 386.3{{C}}. This results in 5edo supporting several [[exotemperament]]s when intervals of 5 are introduced. For example, the best 5/4 is the same interval as 4/3, meaning that the semitone that separates them in JI, [[16/15]], is tempered out, leading to the very inaccurate [[father]] temperament. Exploring more complex intervals, we find that the minor tone [[10/9]] and the minor third [[6/5]] are best mapped to the same step of 240 cents, meaning that the semitone separating them, [[27/25]], is tempered out as well—this is [[bug]] temperament, which is a little more perverse even than father.  


5edo is the smallest edo representing the [[9-odd-limit]] [[consistent]]ly, giving a distinct value modulo 5 to 1, 3, 5, 7 and 9 - specifically, 3 is mapped to 3 steps (720 cents), 5 is very inaccurately mapped to 2 steps (480 cents), 7 is mapped to 4 steps (960 cents), and 9 is mapped to 1 step (240 cents). However, while 2edo represents the [[3-odd-limit]] consistently, 3edo the [[5-odd-limit]], 4edo the [[7-odd-limit]] and 5edo the 9-odd-limit, to represent the [[11-odd-limit]] consistently with a [[patent val]] requires going all the way to [[22edo]].  
Because 5edo's step is so large, such analysis is less significant with 5edo than it becomes with larger and more accurate divisions, but it still plays a role. For example, if we attempt to analyze 5edo as supporting standard [[Diatonic functional harmony|diatonic harmony]], I–IV–V–I is the same as I–III–V–I and involves triads with common intervals because major thirds and fourths are equivalent.
 
If 5edo is taken as only a tuning of the [[3-limit]], we find that the circle of fifths closes after only 5 steps, rather than 12, meaning [[256/243]] is tempered out. This is called [[blackwood]] temperament, and in 5edo, this is a "good" tuning of a circle of fifths—more formally, since the comma being tempered out, the 256/243 semitone at 90.2{{C}}, is smaller than half a step at 120{{C}}, 5edo demonstrates [[Telicity|3-to-2 telicity]], and is in fact the third edo to do so after [[1edo]] and [[2edo]].
 
5edo is the smallest edo representing the [[9-odd-limit]] [[consistent]]ly, giving a distinct [[octave-reduced]] step to harmonics 1, 3, 5, 7 and 9—specifically, 3 is mapped to 3 steps (720 cents), 5 is very inaccurately mapped to 2 steps (480 cents), 7 is mapped to 4 steps (960 cents), and 9 is mapped to 1 step (240 cents). However, while [[2edo]] represents the [[3-odd-limit]] consistently, [[3edo]] the [[5-odd-limit]], [[4edo]] the [[7-odd-limit]] and 5edo the 9-odd-limit, to represent the [[11-odd-limit]] consistently with a [[patent val]] requires going all the way to [[22edo]].  


Despite its lack of accuracy in the 5-limit, 5edo is the second [[zeta integral edo]], after [[2edo]].
Despite its lack of accuracy in the 5-limit, 5edo is the second [[zeta integral edo]], after [[2edo]].
Line 36: Line 40:


=== Subsets and supersets ===
=== Subsets and supersets ===
5edo is the 3rd [[prime edo]], after [[2edo]] and [[3edo]] and before [[7edo]]. It does not contain any nontrivial subset edos, though it contains [[5ed4]]. Multiples such as [[10edo]], [[15edo]], … up to [[35edo]], share the same tuning of the perfect fifth as 5edo, while improving on other intervals.
5edo is the 3rd [[prime edo]], after [[2edo]] and [[3edo]] and before [[7edo]]. It does not contain any nontrivial subset edos, though it contains 5 equal divisions of the double octave [[4/1]], or [[5ed4]]. Multiples of 5edo, such as [[10edo]], [[15edo]], …, up to [[35edo]], share the same tuning of the perfect fifth as 5edo, while improving on other intervals.


== Intervals ==
== Intervals ==
Line 68: Line 72:
| [[144/125]] (-4.969)<br>[[125/108]] (-13.076)
| [[144/125]] (-4.969)<br>[[125/108]] (-13.076)
| [[8/7]] (+8.826)<br>[[7/6]] (-26.871)
| [[8/7]] (+8.826)<br>[[7/6]] (-26.871)
| [[224/195]] (-0.030)
| [[23/20]] (-1.960)<br>[[31/27]] (+0.829)<br>[[224/195]] (-0.030)
| [[File:0-240 second, third (5-EDO).mp3|frameless]]
| [[File:0-240 second, third (5-EDO).mp3|frameless]]
|-
|-
Line 77: Line 81:
|  
|  
| [[21/16]] (+9.219)
| [[21/16]] (+9.219)
| [[33/25]] (-0.686)
| [[33/25]] (-0.686)<br>[[120/91]] (-1.085)
| [[File:0-480 fourth (5-EDO).mp3|frameless]]
| [[File:0-480 fourth (5-EDO).mp3|frameless]]
|-
|-
Line 86: Line 90:
|  
|  
| [[32/21]] (-9.219)
| [[32/21]] (-9.219)
| [[50/33]] (+0.686)
| [[50/33]] (+0.686)<br>[[91/60]] (+1.085)
[[91/60]] (+1.085)
| [[File:0-720 fifth (5-EDO).mp3|frameless]]
| [[File:0-720 fifth (5-EDO).mp3|frameless]]
|-
|-
Line 96: Line 99:
| [[216/125]] (+13.076)<br>[[125/72]] (+4.969)
| [[216/125]] (+13.076)<br>[[125/72]] (+4.969)
| [[12/7]] (+26.871)<br>[[7/4]] (-8.826)
| [[12/7]] (+26.871)<br>[[7/4]] (-8.826)
| [[195/112]] (+0.030)
| [[40/23]] (+1.960)<br>[[54/31]] (-0.829)<br>[[195/112]] (+0.030)
| [[File:0-960 sixth, seventh (5-EDO).mp3|frameless]]
| [[File:0-960 sixth, seventh (5-EDO).mp3|frameless]]
|-
|-
Line 292: Line 295:
| 111.731
| 111.731
| Gubi
| Gubi
| Dicot comma, classic chroma
| Father comma, classic diatonic semitone
|-
|-
| 5
| 5
Line 463: Line 466:


== See also ==
== See also ==
* [https://en.xen.wiki/w/Equal-step_tuning#Alpha-beta-gamma_family_of_equal_divisions Alpha-beta-gamma_family_of_equal_divisions]
* [[Alpha, beta, and gamma family of equal divisions]]


== Notes ==
== Notes ==