5edo: Difference between revisions
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[[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 | 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. | ||
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. | |||
5edo is the basic example of an [[equipentatonic]] scale, as in 5edo all steps are exactly the same size. | |||
{{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. | |||
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). | |||
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 | 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 | 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]]. | ||
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=== 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 == | ||
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| [[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]] | ||
|- | |- | ||
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| | | | ||
| [[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]] | ||
|- | |- | ||
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| | | | ||
| [[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]] | ||
|- | |- | ||
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| [[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]] | ||
|- | |- | ||
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| 111.731 | | 111.731 | ||
| Gubi | | Gubi | ||
| | | Father comma, classic diatonic semitone | ||
|- | |- | ||
| 5 | | 5 | ||
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== See also == | == See also == | ||
* [ | * [[Alpha, beta, and gamma family of equal divisions]] | ||
== Notes == | == Notes == | ||