Ploidacot/Monocot: Difference between revisions
ArrowHead294 (talk | contribs) mNo edit summary |
m Categories (should be handled by the template, testing sort key) |
||
| (4 intermediate revisions by 3 users not shown) | |||
| Line 1: | Line 1: | ||
{{Breadcrumb}}{{Infobox ploidacot|Ploids=1|Shears=0|Cots=1|Pergen=[P8, P5]|Forms=5, 7, 12|Title=Monocot}}'''Monocot''' is a temperament archetype where the generator is a [[3/2]] perfect fifth, and the period is a [[2/1]] octave. In other words, it is the standard chain of fifths, repeating every octave. Monocot temperaments usually generate the (mos)diatonic scale ([[5L 2s]]) and one of its chromatic children ([[5L 7s]] or [[7L 5s]]) (though there are exotempered exceptions such as [[mavila]] ([[2L 5s]]) and [[trienstonian]] ([[5L 3s]])) and as such they are very commonly used and are a well-explored category of temperaments. | {{Breadcrumb}}{{Infobox ploidacot|Ploids=1|Shears=0|Cots=1|Pergen=[P8, P5]|Forms=5, 7, 12|Title=Monocot|Wedgie=1}}'''Monocot''' is a temperament archetype where the generator is a [[3/2]] perfect fifth, and the period is a [[2/1]] octave. In other words, it is the standard chain of fifths, repeating every octave. Monocot temperaments usually generate the (mos)diatonic scale ([[5L 2s]]) and one of its chromatic children ([[5L 7s]] or [[7L 5s]]) (though there are exotempered exceptions such as [[mavila]] ([[2L 5s]]) and [[trienstonian]] ([[5L 3s]])) and as such they are very commonly used and are a well-explored category of temperaments. | ||
== Intervals and notation == | == Intervals and notation == | ||
Monocot is the only ploidacot to have an agreed-upon, fully unambiguous scheme for interval and note names, which can be found at [[ | Monocot is the only ploidacot to have an agreed-upon, fully unambiguous scheme for interval and note names, which can be found at [[chain-of-fifths notation]]. | ||
{| class="wikitable" | {| class="wikitable" | ||
| Line 50: | Line 50: | ||
| '''0''' | | '''0''' | ||
| '''C''' | | '''C''' | ||
| Perfect unison | | Perfect unison | ||
|- | |- | ||
| 1 | | 1 | ||
| 498. | | 498.04 | ||
| F | | F | ||
| Perfect fourth | | Perfect fourth | ||
| Line 63: | Line 63: | ||
|- | |- | ||
| 3 | | 3 | ||
| 294. | | 294.13 | ||
| Eb | | Eb | ||
| Minor third | | Minor third | ||
| Line 83: | Line 83: | ||
|- | |- | ||
| 7 | | 7 | ||
| 1,086. | | 1,086.31 | ||
| Cb | | Cb | ||
| Diminished octave | | Diminished octave | ||
| Line 112: | Line 112: | ||
=== Trienstonian === | === Trienstonian === | ||
[[Trienstonian]] is an exotemperament where the fifth is sharpened so that the major sixth is [[7/4]]. This is thus tuned best with tunings around or sharp of [[5edo]], which do not generate a (usable) diatonic scale. | [[Trienstonian]] is an exotemperament where the fifth is sharpened so that the major sixth is [[7/4]]. This is thus tuned best with tunings around or sharp of [[5edo]], which do not generate a (usable) diatonic scale. | ||