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The '''equal division of 11/5''' ('''ed11/5''') is a [[tuning]] obtained by dividing the [[11/5|neutral ninth (11/5)]] into a certain number of [[equal]] steps.  
The '''equal division of 11/5''' ('''ed11/5''') is a [[tuning]] obtained by dividing the [[11/5|neutral ninth (11/5)]] into a certain number of [[equal]] steps.  


Division of 11/5 into equal parts does not necessarily imply directly using this interval as an [[equivalence]], or not. The question of equivalence has not even been posed yet. The utility of 11/5 as a base though is apparent by it being, beside the true high ninth of a just dominant 11th chord, the best option for "no-twos-or-threes" harmony after the extremely wide [[5/1|harmonic 5]], and the awkwardly narrow [[7/5|small septimal tritone]]. It is also a relatively strong consonance. Many, though not all, of these scales have a perceptually important false octave, with various degrees of accuracy.
Division of 11/5 into equal parts does not necessarily imply directly using this interval as an [[equivalence]]. Many, though not all, ed11/5 have a perceptually important [[Pseudo-octave|false octave]], with various degrees of accuracy.


The simplest chord without 2's or 3's that sounds consonant and stable is 11:13:17, so it can be viewed as the fundamental sonority of no-twos-or-threes music. A neutral ninth-reduced stack of four 121/85's fall short of [[17/13]] by the small comma 2093663/2088025. Tempering out this comma together with the additional comma 54925/54043 results in [[catfish]] temperament, which can be viewed as an analog to [[meantone]]. It possesses [[mos scale]]s of the families 2L 3s<11/5>, 2L 5s<11/5>, 2L 7s<11/5>, and 9L 2s<11/5>.
The structural utility of 11/5 is apparent by it being the high ninth of a [[just]] dominant 11th chord, being the best option for "no-twos-or-threes" harmony after the extremely wide [[5/1|harmonic 5]] and the awkwardly narrow [[7/5|small septimal tritone]], and being a relatively strong [[consonance]] by most metrics.
 
The simplest chord without 2's or 3's that sounds consonant and stable is 11:13:17, so it might be viewed as the fundamental sonority of no-twos-or-threes music. A neutral ninth-reduced stack of four 121/85's fall short of [[17/13]] by the small comma 2093663/2088025. Tempering out this comma together with the additional comma 54925/54043 results in [[catfish]] temperament, which can be viewed as an analog to [[meantone]]. It possesses [[mos scale]]s of the families 2L 3s<11/5>, 2L 5s<11/5>, 2L 7s<11/5>, and 9L 2s<11/5>.


== Ed11/5-edo correspondence ==
== Ed11/5-edo correspondence ==
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== Individual pages for ed11/5's ==
== Individual pages for ed11/5's ==
* [[2ed11/5]]
* [[3ed11/5]]
* [[4ed11/5]]
* [[5ed11/5]]
* [[6ed11/5]]
* [[7ed11/5]]
* [[8ed11/5]]
* [[9ed11/5]]
* [[10ed11/5]]
* [[13ed11/5]]
* [[14ed11/5]]
* [[20ed11/5]]


[[Category:Ed11/5| ]] <!-- main article -->
{| class="wikitable center-all"
[[Category:Nonoctave]]
|+ style=white-space:nowrap | 0…99
[[Category:Equal-step tuning]]
| [[0ed11/5|0]]
| [[1ed11/5|1]]
| [[2ed11/5|2]]
| [[3ed11/5|3]]
| [[4ed11/5|4]]
| [[5ed11/5|5]]
| [[6ed11/5|6]]
| [[7ed11/5|7]]
| [[8ed11/5|8]]
| [[9ed11/5|9]]
|-
| [[10ed11/5|10]]
| [[11ed11/5|11]]
| [[12ed11/5|12]]
| [[13ed11/5|13]]
| [[14ed11/5|14]]
| [[15ed11/5|15]]
| [[16ed11/5|16]]
| [[17ed11/5|17]]
| [[18ed11/5|18]]
| [[19ed11/5|19]]
|-
| [[20ed11/5|20]]
| [[21ed11/5|21]]
| [[22ed11/5|22]]
| [[23ed11/5|23]]
| [[24ed11/5|24]]
| [[25ed11/5|25]]
| [[26ed11/5|26]]
| [[27ed11/5|27]]
| [[28ed11/5|28]]
| [[29ed11/5|29]]
|-
| [[30ed11/5|30]]
| [[31ed11/5|31]]
| [[32ed11/5|32]]
| [[33ed11/5|33]]
| [[34ed11/5|34]]
| [[35ed11/5|35]]
| [[36ed11/5|36]]
| [[37ed11/5|37]]
| [[38ed11/5|38]]
| [[39ed11/5|39]]
|-
| [[40ed11/5|40]]
| [[41ed11/5|41]]
| [[42ed11/5|42]]
| [[43ed11/5|43]]
| [[44ed11/5|44]]
| [[45ed11/5|45]]
| [[46ed11/5|46]]
| [[47ed11/5|47]]
| [[48ed11/5|48]]
| [[49ed11/5|49]]
|-
| [[50ed11/5|50]]
| [[51ed11/5|51]]
| [[52ed11/5|52]]
| [[53ed11/5|53]]
| [[54ed11/5|54]]
| [[55ed11/5|55]]
| [[56ed11/5|56]]
| [[57ed11/5|57]]
| [[58ed11/5|58]]
| [[59ed11/5|59]]
|-
| [[60ed11/5|60]]
| [[61ed11/5|61]]
| [[62ed11/5|62]]
| [[63ed11/5|63]]
| [[64ed11/5|64]]
| [[65ed11/5|65]]
| [[66ed11/5|66]]
| [[67ed11/5|67]]
| [[68ed11/5|68]]
| [[69ed11/5|69]]
|-
| [[70ed11/5|70]]
| [[71ed11/5|71]]
| [[72ed11/5|72]]
| [[73ed11/5|73]]
| [[74ed11/5|74]]
| [[75ed11/5|75]]
| [[76ed11/5|76]]
| [[77ed11/5|77]]
| [[78ed11/5|78]]
| [[79ed11/5|79]]
|-
| [[80ed11/5|80]]
| [[81ed11/5|81]]
| [[82ed11/5|82]]
| [[83ed11/5|83]]
| [[84ed11/5|84]]
| [[85ed11/5|85]]
| [[86ed11/5|86]]
| [[87ed11/5|87]]
| [[88ed11/5|88]]
| [[89ed11/5|89]]
|-
| [[90ed11/5|90]]
| [[91ed11/5|91]]
| [[92ed11/5|92]]
| [[93ed11/5|93]]
| [[94ed11/5|94]]
| [[95ed11/5|95]]
| [[96ed11/5|96]]
| [[97ed11/5|97]]
| [[98ed11/5|98]]
| [[99ed11/5|99]]
|}
 
[[Category:Ed11/5's| ]] <!-- main article -->
[[Category:Lists of scales]]