User:Moremajorthanmajor/5L 2s (5/3-equivalent): Difference between revisions

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{{Infobox MOS

|Tuning=5L 2s<5/3>}}

~~One way~~ of ~~distinguishing the~~ '''3/4''' '''diatonic''' ~~scale is by considering it a [[MOS scale|moment of symmetry]] scale produced by a chain of "fifths" (or "fourths") with the step combination of '''5L 2s'''. Among the most well-known variants of this~~ MOS proper are 12ED5/3's diatonic scale along with both the Pythagorean diatonic scale and the various meantone systems. Other similar scales referred to by the term "diatonic" can be arrived at different ways – for example, through just intonation procedures, or with tetrachords. However, it should be noted that at least the majority of the other scales that fall under this category – such as the just intonation scales that use more than one size of whole tone – are actually JI detemperings or tempered approximations of them that both closely resemble and are derived from this MOS.

{{MOS intro|Scale Signature=5L 2s<5/3>}}Among the most well-known variants of this '''3/4''' '''diatonic''' MOS proper are 12ED5/3's diatonic scale along with both the Pythagorean diatonic scale and the various meantone systems. Other similar scales referred to by the term "diatonic" can be arrived at different ways – for example, through just intonation procedures, or with tetrachords. However, it should be noted that at least the majority of the other scales that fall under this category – such as the just intonation scales that use more than one size of whole tone – are actually JI detemperings or tempered approximations of them that both closely resemble and are derived from this MOS.

==On the term ''diatonic''==

In [[TAMNAMS]] (which is the convention on all pages on scale patterns on the wiki), [[diatonic]] exclusively refers to 5L 2s. Other diatonic-based scales (specifically with 3 step sizes or more), such as [[Zarlino]], [[blackdye]] and [[diasem]], are called ''[[Detempering|detempered]]'' (if the philosophy is [[RTT]]-based) or ''deregularized'' (RTT-agnostic) ''diatonic scales''. The adjectives ''diatonic-like'' or ''diatonic-based'' may also be used to refer to diatonic-based scales, depending on what's contextually the most appropriate.

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The near-just part of the region is of interest mainly for those interested in “3/4” [[Pythagorean tuning]] and large, accurate eds systems based on close-to-Pythagorean fifths, such as 41ED5/3 and 53ED5/3. This class of tunings is called [[schisma|trischismic]] temperament; these tunings can approximate 5<sup>3/4</sup>-limit harmonies very accurately by [[tempering out]] a small comma called the [[schisma]]. (Technically, 12ED5/3 tempers out the schisma and thus is a schismic tuning, but it is nowhere near as accurate as schismic tunings can be.).

The sharp-of-just part of this range includes so-called “3/4 [[neogothic]]" or "3/4 parapyth" systems, which tune the diatonic major third slightly flatly of [[6/5]] and the diatonic minor third slightly sharply of [[12/11]]. Good 3/4 neogothic EDSs include ~~29EDQ~~ and 46ED5/3. 17ED5/3 is often considered the sharper end of the 3/4 neogothic spectrum; its major third at ~~313~~ cents (~~417~~ śata) is considerably more concordant than in flatter neogothic tunings.

The sharp-of-just part of this range includes so-called “3/4 [[neogothic]]" or "3/4 parapyth" systems, which tune the diatonic major third slightly flatly of [[6/5]] and the diatonic minor third slightly sharply of [[12/11]]. Good 3/4 neogothic EDSs include 29ED5/3 and 46ED5/3. 17ED5/3 is often considered the sharper end of the 3/4 neogothic spectrum; its major third at 312 cents (416 śata) is considerably more concordant than in flatter neogothic tunings.

===Parahard to ultrahard===

"3/4 Archy" systems such as 17ED5/3, 22ED5/3, and 27ED5/3.

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|3\5||

|}If we carry this freshman-summing out a little further, new, larger ED5/3s pop up in our continuum.

{{Scale ~~tree|~~5L 2s<5/3>}}Tunings above 7\12 on this chart are called "positive tunings" (as they greaten the size of the fifth) and include 3/4 meantone systems such as 1/3-comma (close to 11\19) and 1/4-comma (close to 18\31). As these tunings approach 4\7, the majors become flatter and the minors become sharper.

{{MOS tuning spectrum|Scale Signature=5L 2s<5/3>}}Tunings above 7\12 on this chart are called "positive tunings" (as they greaten the size of the fifth) and include 3/4 meantone systems such as 1/3-comma (close to 11\19) and 1/4-comma (close to 18\31). As these tunings approach 4\7, the majors become flatter and the minors become sharper.

Tunings below 7\12 on this chart are called "negative tunings" and they include 3/4 Pythagorean tuning itself (well approximated by 31\53) as well as 3/4 superpyth tunings such as 10\17 and 13\22. As these tunings approach 3\5, the majors become sharper and the minors become flatter. Around 10\17 through 13\22, the thirds fall closer to 5-limit than 7-limit intervals: 6:5 as opposed to 7:6.

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 {{Infobox MOS
 |Tuning=5L 2s<5/3>}}
-One way of distinguishing the '''3/4''' '''diatonic''' scale is by considering it a [[MOS scale|moment of symmetry]] scale produced by a chain of "fifths" (or "fourths") with the step combination of '''5L 2s'''. Among the most well-known variants of this MOS proper are 12ED5/3's diatonic scale along with both the Pythagorean diatonic scale and the various meantone systems.  Other similar scales referred to by the term "diatonic" can be arrived at different ways – for example, through just intonation procedures, or with tetrachords. However, it should be noted that at least the majority of the other scales that fall under this category – such as the just intonation scales that use more than one size of whole tone – are actually JI detemperings or tempered approximations of them that both closely resemble and are derived from this MOS.
+{{MOS intro|Scale Signature=5L 2s<5/3>}}Among the most well-known variants of this '''3/4''' '''diatonic''' MOS proper are 12ED5/3's diatonic scale along with both the Pythagorean diatonic scale and the various meantone systems. Other similar scales referred to by the term "diatonic" can be arrived at different ways – for example, through just intonation procedures, or with tetrachords. However, it should be noted that at least the majority of the other scales that fall under this category – such as the just intonation scales that use more than one size of whole tone – are actually JI detemperings or tempered approximations of them that both closely resemble and are derived from this MOS.
 ==On the term ''diatonic''==
 In [[TAMNAMS]] (which is the convention on all pages on scale patterns on the wiki), [[diatonic]] exclusively refers to 5L 2s. Other diatonic-based scales (specifically with 3 step sizes or more), such as [[Zarlino]], [[blackdye]] and [[diasem]], are called ''[[Detempering|detempered]]'' (if the philosophy is [[RTT]]-based) or ''deregularized''  (RTT-agnostic) ''diatonic scales''. The adjectives ''diatonic-like'' or ''diatonic-based'' may also be used to refer to diatonic-based scales, depending on what's contextually the most appropriate.
@@ Line 37: / Line 37: @@
 The near-just part of the region is of interest mainly for those interested in “3/4” [[Pythagorean tuning]] and large, accurate eds systems based on close-to-Pythagorean fifths, such as 41ED5/3 and 53ED5/3. This class of tunings is called [[schisma|trischismic]] temperament; these tunings can approximate 5<sup>3/4</sup>-limit harmonies very accurately by [[tempering out]] a small comma called the [[schisma]]. (Technically, 12ED5/3 tempers out the schisma and thus is a schismic tuning, but it is nowhere near as accurate as schismic tunings can be.)<!--(see [[5L 2s/Temperaments#Schismic]])-->.
-The sharp-of-just part of this range includes so-called “3/4 [[neogothic]]" or "3/4 parapyth" systems, which tune the diatonic major third slightly flatly of [[6/5]] and the diatonic minor third slightly sharply of [[12/11]]. Good 3/4 neogothic EDSs include 29EDQ and 46ED5/3. 17ED5/3 is often considered the sharper end of the 3/4 neogothic spectrum; its major third at 313 cents (417 śata) is considerably more concordant than in flatter neogothic tunings.
+The sharp-of-just part of this range includes so-called “3/4 [[neogothic]]" or "3/4 parapyth" systems, which tune the diatonic major third slightly flatly of [[6/5]] and the diatonic minor third slightly sharply of [[12/11]]. Good 3/4 neogothic EDSs include 29ED5/3 and 46ED5/3. 17ED5/3 is often considered the sharper end of the 3/4 neogothic spectrum; its major third at 312 cents (416 śata) is considerably more concordant than in flatter neogothic tunings.
 ===Parahard to ultrahard===
 "3/4 Archy" systems such as 17ED5/3, 22ED5/3, and 27ED5/3.
@@ Line 93: / Line 93: @@
 |3\5||
 |}If we carry this freshman-summing out a little further, new, larger ED5/3s pop up in our continuum.
-{{Scale tree|5L 2s<5/3>}}Tunings above 7\12 on this chart are called "positive tunings" (as they greaten the size of the fifth) and include 3/4 meantone systems such as 1/3-comma (close to 11\19) and 1/4-comma (close to 18\31). As these tunings approach 4\7, the majors become flatter and the minors become sharper.
+{{MOS tuning spectrum|Scale Signature=5L 2s<5/3>}}Tunings above 7\12 on this chart are called "positive tunings" (as they greaten the size of the fifth) and include 3/4 meantone systems such as 1/3-comma (close to 11\19) and 1/4-comma (close to 18\31). As these tunings approach 4\7, the majors become flatter and the minors become sharper.
 Tunings below 7\12 on this chart are called "negative tunings" and they include 3/4 Pythagorean tuning itself (well approximated by 31\53) as well as 3/4 superpyth tunings such as 10\17 and 13\22. As these tunings approach 3\5, the majors become sharper and the minors become flatter. Around 10\17 through 13\22, the thirds fall closer to 5-limit than 7-limit intervals: 6:5 as opposed to 7:6.