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→Theory: It is also the highest edo for which the mapping of 8/7 and 9/8 to the same interval is consistent.
 
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Assuming pure octaves, 27edo divides the [[octave]] in 27 equal parts each exactly 44{{frac|4|9}} [[cent]]s in size. Its fifth and harmonic seventh are both sharp by 9{{c}}, and the major third is the same 400-cent major third as [[12edo]], sharp by 13.7{{c}}. The result is that [[6/5]], [[7/5]], and especially [[7/6]] are all tuned more accurately than this. It can be considered the superpythagorean counterpart of [[19edo]], as its 5th is audibly indistinguishable from [[superpyth|1/3-septimal-comma superpyth]] in the same way that 19edo is audibly indistinguishable from [[1/3-comma meantone|1/3-syntonic-comma meantone]]: Three fourths (C-Eb) in 19edo reach a near-perfect [[6/5]] and the same distance in 27edo reaches a near-perfect [[7/6]].
Assuming pure octaves, 27edo divides the [[octave]] in 27 equal parts each exactly 44{{frac|4|9}} [[cent]]s in size. Its fifth and harmonic seventh are both sharp by 9{{c}}, and the major third is the same 400-cent major third as [[12edo]], sharp by 13.7{{c}}. The result is that [[6/5]], [[7/5]], and especially [[7/6]] are all tuned more accurately than this. It can be considered the superpythagorean counterpart of [[19edo]], as its 5th is audibly indistinguishable from [[superpyth|1/3-septimal-comma superpyth]] in the same way that 19edo is audibly indistinguishable from [[1/3-comma meantone|1/3-syntonic-comma meantone]]: Three fourths (C-Eb) in 19edo reach a near-perfect [[6/5]] and the same distance in 27edo reaches a near-perfect [[7/6]].


Though 27edo's [[7-limit]] tuning is not highly accurate, it nonetheless is the smallest equal division to represent the [[7-odd-limit]] both [[consistent]]ly and distinctly—that is, everything in the [[7-odd-limit]] [[tonality diamond]] is uniquely represented by a certain number of steps of 27edo. It also represents the 13th harmonic very well, and performs quite decently as a 2.3.5.7.13.19 (no-11's, no-17's 19-limit) temperament, if a highly sharp-tending one. It also approximates [[19/10]], [[19/12]], and [[19/14]], so {{dash|0, 7, 13, 25|med}} does quite well as a 10:12:14:19 chord, with the major seventh 25\27 being less than one cent off from 19/10. Octave-inverted, these also form a quite convincing approximation of the main Bohlen–Pierce triads, 3:5:7 ([0 20 33]) and 5:7:9 ([0 13 23]), via the [[BPS]] scale in [[43edt]], although approximations of the odd harmonic series rapidly become rough if extended to prime 11 and above.
Though 27edo's [[7-limit]] tuning is not highly accurate, it nonetheless is the smallest equal division to represent the [[7-odd-limit]] both [[consistent]]ly and distinctly—that is, everything in the [[7-odd-limit]] [[tonality diamond]] is uniquely represented by a certain number of steps of 27edo. It is also the highest edo for which the mapping of [[8/7]] and [[9/8]] to the same interval is [[consistent]]. It represents the 13th harmonic very well, and performs quite decently as a 2.3.5.7.13.19 (no-11's, no-17's 19-limit) temperament, if a highly sharp-tending one. It also approximates [[19/10]], [[19/12]], and [[19/14]], so {{dash|0, 7, 13, 25|med}} does quite well as a 10:12:14:19 chord, with the major seventh 25\27 being less than one cent off from 19/10. Octave-inverted, these also form a quite convincing approximation of the main Bohlen–Pierce triads, 3:5:7 ([0 20 33]) and 5:7:9 ([0 13 23]), via the [[BPS]] scale in [[43edt]], although approximations of the odd harmonic series rapidly become rough if extended to prime 11 and above.


Its step of 44.4{{c}}, as well as the octave-inverted and octave-equivalent versions of it, holds the distinction for having very high [[harmonic entropy]]. In other words, there is a general perception of quartertones as being the most dissonant intervals. This property is shared with all edos between around 20 and 30. Intervals smaller than this tend to be perceived as unison and are more consonant as a result; intervals larger than this have less "tension" and thus are also more consonant.
Its step of 44.4{{c}}, as well as the octave-inverted and octave-equivalent versions of it, holds the distinction for having very high [[harmonic entropy]]. In other words, there is a general perception of quartertones as being the most dissonant intervals. This property is shared with all edos between around 20 and 30. Intervals smaller than this tend to be perceived as unison and are more consonant as a result; intervals larger than this have less "tension" and thus are also more consonant.
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== Intervals ==
== Intervals ==
{| class="wikitable center-all right-2 left-3"
{| class="wikitable center-1 right-2"
|-
|-
! #
! #
! Cents
! Cents
! Approximate ratios<ref group="note">{{sg|27et|limit=2.3.5.7.13.19-[[subgroup]]}}</ref>
! colspan="3" | [[Ups and downs notation]] ([[Enharmonic unisons in ups and downs notation|EUs]]: v<sup>4</sup>A1 and vm2)
! [[Interval region]]s
! [[Interval region]]s
! colspan="2" | [[Solfege]]s
! Approximate ratios<ref group="note">As a 2.3.5.7.13.19-[[subgroup]] temperament, inconsistent intervals in ''italic''. </ref>
! [[Kite's ups and downs notation|Ups and downs notation]]
|-
|-
| 0
| 0
| 0.0
| 0.0
| Unison
| [[1/1]]
| [[1/1]]
| {{UDnote|step=0}}
|-
| 1
| 44.4
| Diesis
| [[28/27]], [[36/35]], [[39/38]], [[49/48]], [[50/49]], ''[[81/80]]''
| {{UDnote|step=1}}
|-
| 2
| 88.9
| Minor second
| ''[[16/15]]'', [[21/20]], [[25/24]], [[19/18]], [[20/19]]
| {{UDnote|step=2}}
|-
| 3
| 133.3
| Neutral second
| [[15/14]], [[14/13]], [[13/12]]
| {{UDnote|step=3}}
|-
| 4
| 177.8
| Small major second
| [[10/9]]
| {{UDnote|step=4}}
|-
| 5
| 222.2
| Large major second
| [[8/7]], [[9/8]]
| {{UDnote|step=5}}
|-
| 6
| 266.7
| Subminor third
| [[7/6]]
| {{UDnote|step=6}}
|-
| 7
| 311.1
| Minor third
| [[6/5]], [[19/16]]
| {{UDnote|step=7}}
|-
| 8
| 355.6
| Neutral third
| [[16/13]]
| {{UDnote|step=8}}
|-
| 9
| 400.0
| Major third
| [[5/4]], [[24/19]]
| {{UDnote|step=9}}
|-
| 10
| 444.4
| Supermajor third
| [[9/7]], [[13/10]]
| {{UDnote|step=10}}
|-
| 11
| 488.9
| Perfect fourth
| [[4/3]]
| {{UDnote|step=11}}
|-
| 12
| 533.3
| Superfourth
| [[19/14]], [[26/19]], [[27/20]], [[48/35]]
| {{UDnote|step=12}}
|-
| 13
| 577.8
| Small tritone
| [[7/5]], [[18/13]]
| {{UDnote|step=13}}
|-
| 14
| 622.2
| Large tritone
| [[10/7]], [[13/9]]
| {{UDnote|step=14}}
|-
| 15
| 666.7
| Subfifth
| [[19/13]], [[28/19]], [[35/24]], [[40/27]]
| {{UDnote|step=15}}
|-
| 16
| 711.1
| Perfect fifth
| [[3/2]]
| {{UDnote|step=16}}
|-
| 17
| 755.6
| Subminor sixth
| [[14/9]], [[20/13]]
| {{UDnote|step=17}}
|-
| 18
| 800.0
| Minor sixth
| [[8/5]], [[19/12]]
| {{UDnote|step=18}}
|-
| 19
| 844.4
| Neutral sixth
| [[13/8]]
| {{UDnote|step=19}}
|-
| 20
| 888.9
| Major sixth
| [[5/3]], [[32/19]]
| {{UDnote|step=20}}
|-
| 21
| 933.3
| Supermajor sixth
| [[12/7]]
| {{UDnote|step=21}}
|-
| 22
| 977.8
| Harmonic seventh
| [[7/4]], [[16/9]]
| {{UDnote|step=22}}
|-
| 23
| 1022.2
| Large minor seventh
| [[9/5]]
| {{UDnote|step=23}}
|-
| 24
| 1066.7
| Neutral seventh
| [[13/7]], [[24/13]], [[28/15]]
| {{UDnote|step=24}}
|-
| 25
| 1111.1
| Major seventh
| ''[[15/8]]'', [[19/10]], [[36/19]], [[40/21]], [[48/25]]
| {{UDnote|step=25}}
|-
| 26
| 1155.6
| Supermajor seventh
| [[27/14]], [[35/18]], [[49/25]], [[96/49]], ''[[160/81]]''
| {{UDnote|step=26}}
|-
| 27
| 1200.0
| Octave
| [[2/1]]
| {{UDnote|step=27}}
|}
<references group="note" />
=== Proposed interval names and solfèges ===
{| class="wikitable center-all right-2 left-4 mw-collapsible mw-collapsed"
|+ style="white-space: nowrap;" | Table of proposed interval names and solfèges
|-
! #
! Cents
! colspan="3" | [[Kite's ups and downs notation|Ups and downs notation]]<br>([[Enharmonic unisons in ups and downs notation|EUs]]: v<sup>4</sup>A1 and vm2)
! colspan="2" | [[Solfège]]s
|-
| 0
| 0.0
| P1
| P1
| perfect unison
| perfect unison
| D
| D
| unison
| da
| da
| do
| do
Line 48: Line 224:
| 1
| 1
| 44.4
| 44.4
| [[28/27]], [[36/35]], [[39/38]], [[49/48]], [[50/49]], ''[[81/80]]''
| ^1, m2
| ^1, m2
| up unison, minor 2nd
| up unison, minor 2nd
| ^D, Eb
| ^D, Eb
| diesis
| fra
| fra
| di
| di
Line 58: Line 232:
| 2
| 2
| 88.9
| 88.9
| ''[[16/15]]'', [[21/20]], [[25/24]], [[19/18]], [[20/19]]
| ^^1, ^m2
| ^^1, ^m2
| dup unison, upminor 2nd
| dup unison, upminor 2nd
| ^^D, ^Eb
| ^^D, ^Eb
| minor second
| fru
| fru
| ra
| ra
Line 68: Line 240:
| 3
| 3
| 133.3
| 133.3
| [[15/14]], [[14/13]], [[13/12]]
| vA1, ~2
| vA1, ~2
| downaug 1sn, mid 2nd
| downaug 1sn, mid 2nd
| vD#, vvE
| vD#, vvE
| neutral second
| ri
| ri
| ru
| ru
Line 78: Line 248:
| 4
| 4
| 177.8
| 177.8
| [[10/9]]
| A1, vM2
| A1, vM2
| aug 1sn, downmajor 2nd
| aug 1sn, downmajor 2nd
| D#, vE
| D#, vE
| small major second
| ro
| ro
| reh
| reh
Line 88: Line 256:
| 5
| 5
| 222.2
| 222.2
| [[8/7]], [[9/8]]
| M2
| M2
| major 2nd
| major 2nd
| E
| E
| large major second
| ra
| ra
| re
| re
Line 98: Line 264:
| 6
| 6
| 266.7
| 266.7
| [[7/6]]
| m3
| m3
| minor 3rd
| minor 3rd
| F
| F
| subminor third
| na
| na
| ma
| ma
Line 108: Line 272:
| 7
| 7
| 311.1
| 311.1
| [[6/5]], [[19/16]]
| ^m3
| ^m3
| upminor 3rd
| upminor 3rd
| Gb
| Gb
| minor third
| nu
| nu
| me
| me
Line 118: Line 280:
| 8
| 8
| 355.6
| 355.6
| [[16/13]]
| ~3
| ~3
| mid 3rd
| mid 3rd
| ^Gb
| ^Gb
| neutral third
| mi
| mi
| mu
| mu
Line 128: Line 288:
| 9
| 9
| 400.0
| 400.0
| [[5/4]], [[24/19]]
| vM3
| vM3
| downmajor 3rd
| downmajor 3rd
| vF#
| vF#
| major third
| mo
| mo
| mi
| mi
Line 138: Line 296:
| 10
| 10
| 444.4
| 444.4
| [[9/7]], [[13/10]]
| M3
| M3
| major 3rd
| major 3rd
| F#
| F#
| supermajor third
| ma
| ma
| mo
| mo
Line 148: Line 304:
| 11
| 11
| 488.9
| 488.9
| [[4/3]]
| P4
| P4
| perfect 4th
| perfect 4th
| G
| G
| fourth
| fa
| fa
| fa
| fa
Line 158: Line 312:
| 12
| 12
| 533.3
| 533.3
| [[19/14]], [[26/19]], [[27/20]], [[48/35]]
| ^4
| ^4
| up 4th
| up 4th
| Ab
| Ab
| superfourth
| fu/sha
| fu/sha
| fih
| fih
Line 168: Line 320:
| 13
| 13
| 577.8
| 577.8
| [[7/5]], [[18/13]]
| ~4, ^d5
| ~4, ^d5
| mid 4th, updim 5th
| mid 4th, updim 5th
| ^^G, ^Ab
| ^^G, ^Ab
| small tritone
| fi/shu
| fi/shu
| fi
| fi
Line 178: Line 328:
| 14
| 14
| 622.2
| 622.2
| [[10/7]], [[13/9]]
| vA4, ~5
| vA4, ~5
| downaug 4th, mid 5th
| downaug 4th, mid 5th
| vG#, vvA
| vG#, vvA
| large tritone
| po/si
| po/si
| se
| se
Line 188: Line 336:
| 15
| 15
| 666.7
| 666.7
| [[19/13]], [[28/19]], [[35/24]], [[40/27]]
| v5
| v5
| down fifth
| down fifth
| G#
| G#
| subfifth
| pa/so
| pa/so
| sih
| sih
Line 198: Line 344:
| 16
| 16
| 711.1
| 711.1
| [[3/2]]
| P5
| P5
| perfect 5th
| perfect 5th
| A
| A
| fifth
| sa
| sa
| so/sol
| so/sol
Line 208: Line 352:
| 17
| 17
| 755.6
| 755.6
| [[14/9]], [[20/13]]
| m6
| m6
| minor 6th
| minor 6th
| Bb
| Bb
| subminor sixth
| fla
| fla
| lo
| lo
Line 218: Line 360:
| 18
| 18
| 800.0
| 800.0
| [[8/5]], [[19/12]]
| ^m6
| ^m6
| upminor 6th
| upminor 6th
| ^Bb
| ^Bb
| minor sixth
| flu
| flu
| le
| le
Line 228: Line 368:
| 19
| 19
| 844.4
| 844.4
| [[13/8]]
| ~6
| ~6
| mid 6th
| mid 6th
| vA#
| vA#
| neutral sixth
| li
| li
| lu
| lu
Line 238: Line 376:
| 20
| 20
| 888.9
| 888.9
| [[5/3]], [[32/19]]
| vM6
| vM6
| downmajor 6th
| downmajor 6th
| A#
| A#
| major sixth
| lo
| lo
| la
| la
Line 248: Line 384:
| 21
| 21
| 933.3
| 933.3
| [[12/7]]
| M6
| M6
| major 6th
| major 6th
| B
| B
| supermajor sixth
| la
| la
| li
| li
Line 258: Line 392:
| 22
| 22
| 977.8
| 977.8
| [[7/4]], [[16/9]]
| m7
| m7
| minor 7th
| minor 7th
| C
| C
| harmonic seventh
| tha
| tha
| ta
| ta
Line 268: Line 400:
| 23
| 23
| 1022.2
| 1022.2
| [[9/5]]
| ^m7
| ^m7
| upminor 7th
| upminor 7th
| Db
| Db
| large minor seventh
| thu
| thu
| te
| te
Line 278: Line 408:
| 24
| 24
| 1066.7
| 1066.7
| [[13/7]], [[24/13]], [[28/15]]
| ~7
| ~7
| mid 7th
| mid 7th
| ^Db
| ^Db
| neutral seventh
| ti
| ti
| tu
| tu
Line 288: Line 416:
| 25
| 25
| 1111.1
| 1111.1
| ''[[15/8]]'', [[19/10]], [[36/19]], [[40/21]], [[48/25]]
| vM7
| vM7
| downmajor 7th
| downmajor 7th
| vC#
| vC#
| major seventh
| to
| to
| ti
| ti
Line 298: Line 424:
| 26
| 26
| 1155.6
| 1155.6
| [[27/14]], [[35/18]], [[49/25]], [[96/49]], ''[[160/81]]''
| M7
| M7
| major 7th
| major 7th
| C#
| C#
| supermajor seventh
| ta
| ta
| da
| da
Line 308: Line 432:
| 27
| 27
| 1200.0
| 1200.0
| [[2/1]]
| P8
| P8
| 8ve
| 8ve
| D
| D
| octave
| da
| da
| do
| do
|}
|}
<references group="note" />


=== Interval quality and chord names in color notation ===
=== Interval quality and chord names in color notation ===
Line 418: Line 539:
|+ style="font-size: 105%;" | Circle of fifths in 27edo
|+ style="font-size: 105%;" | Circle of fifths in 27edo
|- style="white-space: nowrap;"
|- style="white-space: nowrap;"
!Cents
! Cents
! colspan="2" | Extended<br />Pythagorean<br />notation
! colspan="2" | Extended<br>Pythagorean<br>notation
! colspan="2" | Quartertone<br />notation
! colspan="2" | Quartertone<br>notation
|-
|-
| 0.0
| 0.0
Line 550: Line 671:
Using standard [[chain-of-fifths notation]], a sharp (an augmented unison) raises a note by 4 edosteps, just one edostep beneath the following nominal, and the flat conversely lowers. The sharp is quite wide at about 178¢, sounding like a narrow major 2nd. C to C♯ describes the approximate 10/9 and 11/10 interval. An accidental can be divided in half, and the remaining places can then be filled in with half-sharps, half-flats, sesquisharps, and sesquiflats, reducing the need for double sharps and double flats. The half-sharp is notated as a quartertone, but at about 89¢ it sounds more like a narrow semitone. The gamut from C to D is C, D♭, C{{demisharp2}}, D{{demiflat2}}, C♯, and D, with many ascending intervals appearing to be descending on the staff.
Using standard [[chain-of-fifths notation]], a sharp (an augmented unison) raises a note by 4 edosteps, just one edostep beneath the following nominal, and the flat conversely lowers. The sharp is quite wide at about 178¢, sounding like a narrow major 2nd. C to C♯ describes the approximate 10/9 and 11/10 interval. An accidental can be divided in half, and the remaining places can then be filled in with half-sharps, half-flats, sesquisharps, and sesquiflats, reducing the need for double sharps and double flats. The half-sharp is notated as a quartertone, but at about 89¢ it sounds more like a narrow semitone. The gamut from C to D is C, D♭, C{{demisharp2}}, D{{demiflat2}}, C♯, and D, with many ascending intervals appearing to be descending on the staff.


=== Ups and downs notation ===
=== Stein–Zimmermann–Gould notation ===
27edo can be notated with [[ups and downs]], spoken as up, dup, downsharp, sharp, upsharp etc. and down, dud, upflat etc. Note that dup is equivalent to dudsharp and dud is equivalent to dupflat.
[[Stein–Zimmermann–Gould notation]] uses sharps and flats combined with quartertone accidentals and arrows:
{{Sharpness-sharp4-szg}}
 
=== Kite's ups and downs notation ===
27edo can also be notated with [[Kite's ups and downs notation|Kite's ups and downs]], spoken as up, dup, downsharp, sharp, upsharp etc. and down, dud, upflat etc. Note that dup is equivalent to dudsharp and dud is equivalent to dupflat.
{{Ups and downs sharpness}}
{{Ups and downs sharpness}}
[[Alternative symbols for ups and downs notation|Alternatively,]] sharps and flats with arrows can be used, borrowed from extended [[Helmholtz–Ellis notation]]:
{{Sharpness-sharp4}}


=== Sagittal notation ===
=== Sagittal notation ===
Line 901: Line 1,024:
| 3
| 3
| 2\27
| 2\27
| [[Augene]] (27e) / Eugene (27)
| [[Augene]] (27e) / eugene (27)
| [[3L 3s]], [[3L 6s]], [[3L 9s]], [[12L 3s]]
| [[3L 3s]], [[3L 6s]], [[3L 9s]], [[12L 3s]]
|-
|-
Line 911: Line 1,034:
| 9
| 9
| 1\27
| 1\27
| [[Niner]] (27e)<br>[[Ennealimmal]] (out of tune)
| [[Niner]] (27e)
| [[9L 9s]]
| [[9L 9s]]
|}
|}
In addition, 27edo can be used as a detempering target for [[ennealimmal]].


=== Commas ===
=== Commas ===
Line 1,283: Line 1,408:
; [[Brendan Byrnes]]
; [[Brendan Byrnes]]
* [https://www.youtube.com/watch?v=sWaqlAgSWcc ''Sunspots''] (2022)
* [https://www.youtube.com/watch?v=sWaqlAgSWcc ''Sunspots''] (2022)
* ''27 EDO Etude'' (2022)
** [https://brendanbyrnes.bandcamp.com/track/27-edo-etude on Bandcamp]
** [https://m.youtube.com/watch?v=Lml2cfJW9QI on YouTube] (with sheet music)
* [https://www.youtube.com/watch?v=lywpWPBYQi0 ''Istril Bloom''] (2025)
* [https://www.youtube.com/watch?v=lywpWPBYQi0 ''Istril Bloom''] (2025)


Line 1,290: Line 1,418:
; [[Bryan Deister]]
; [[Bryan Deister]]
* [https://www.youtube.com/watch?v=hDP8cfJqWOI ''microtonal improvisation in 27edo''] (2023)
* [https://www.youtube.com/watch?v=hDP8cfJqWOI ''microtonal improvisation in 27edo''] (2023)
* [https://www.youtube.com/shorts/FSPUebavRCQ ''27edo waltz''] (2025)
* [https://www.youtube.com/shorts/izpEen38Sps ''27edo improv''] (2025)
* [https://www.youtube.com/shorts/izpEen38Sps ''27edo improv''] (2025)
* ''Flies Control My Pain - 27edo'' (2026)
** [https://www.youtube.com/shorts/sKnjDPEOQtc <nowiki>[short 1]</nowiki>] (using [[tetracot]] Lumatone mapping)
** [https://www.youtube.com/shorts/QEebNJkcIlE <nowiki>[short 2]</nowiki>] (using [[Starling_temperaments#Kumonga|kumonga]] Lumatone mapping)


; [[Francium]]
; [[Francium]]
* [https://www.youtube.com/watch?v=3Ty3FpmAdGA ''Happy Birthday in 27edo''] (2025)
* [https://www.youtube.com/watch?v=3Ty3FpmAdGA ''Happy Birthday in 27edo''] (2025)
* [https://www.youtube.com/watch?v=Wfg2gWW9qZg ''Router-Pseudoscientist''] (2025)
* "Router-Pseudoscientist" from ''TOTMC 2025'' (2025) – [https://open.spotify.com/track/5qrXYuhz3XOEaUyFvP4ldp Spotify] | [https://francium223.bandcamp.com/track/router-pseudoscientist Bandcamp] | [https://www.youtube.com/watch?v=Wfg2gWW9qZg YouTube]
* [https://www.youtube.com/watch?v=hY0zo6MqQtU ''Waltz No. 11 in A flat major''] (2026)
* [https://www.youtube.com/watch?v=wY43YLa17s4 ''Plane Sonatina No. 4''] (2026)
 
; [[groundfault]]
* From ''A New Dusk'' (2024) – [https://groundfco.bandcamp.com/album/a-new-dusk Bandcamp] | [https://www.youtube.com/watch?v=1bnEO8vGvbo YouTube]
** "Back Stalk"
** "Superior Intermedial" – in part, the rest being in 31edo
** "Revelation of Your Forever"
* "Sakura Blade Minivan", from ''Souvenirs of the Affliction'' (2025) – [https://groundfco.bandcamp.com/track/sakura-blade-minivan-27-35edo-2 Bandcamp] | [https://www.youtube.com/watch?v=rrjuGmmodn0&t=1436 YouTube (23:56–27:58)] – in part, the rest being in 35edo


; [[Igliashon Jones]]
; [[Igliashon Jones]]
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* "Funkrotonal" from ''Microtonal Allsorts'' (2023) – [https://open.spotify.com/track/1zjNkbm8kIkuCxtodyFCL0 Spotify] | [https://xotla.bandcamp.com/track/funkrotonal-27edo Bandcamp] | [https://www.youtube.com/watch?v=7gt1BBJuJsE YouTube]
* "Funkrotonal" from ''Microtonal Allsorts'' (2023) – [https://open.spotify.com/track/1zjNkbm8kIkuCxtodyFCL0 Spotify] | [https://xotla.bandcamp.com/track/funkrotonal-27edo Bandcamp] | [https://www.youtube.com/watch?v=7gt1BBJuJsE YouTube]


[[Category:Augene]]
[[Category:Listen]]
[[Category:Listen]]
[[Category:Augmented]]
[[Category:Sensi]]
[[Category:Sensi]]
[[Category:Superpyth]]
[[Category:Superpyth]]
[[Category:Tetracot]]
[[Category:Tetracot]]
[[Category:Twentuning]]
[[Category:Twentuning]]
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