User:CompactStar/Ed11/3: Difference between revisions
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The '''equal division of 11/3''' ('''ed11/3''') is a [[tuning]] obtained by dividing the [[11/3|undecimal neutral fourteenth (11/3)]] into a number of [[equal]] steps. In [[flattone]] and flatter diatonic tunings, the major fourteenth will approximate this interval closest of the simple fourteenths. | The '''equal division of 11/3''' ('''ed11/3''') is a [[tuning]] obtained by dividing the [[11/3|undecimal neutral fourteenth (11/3)]] into a number of [[equal]] steps. In [[flattone]] and flatter diatonic tunings, the major fourteenth will approximate this interval closest of the simple fourteenths. | ||
== Properties == | == Properties == | ||
Division of 11/3 into equal parts does not necessarily imply directly using this interval as an [[equivalence]] | Division of 11/3 into equal parts does not necessarily imply directly using this interval as an [[equivalence]]. Many, though not all, ed11/3 scales have a perceptually important [[Pseudo-octave|false octave]], with various degrees of accuracy. | ||
One approach to ed11/3 tunings is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to [[5/1]], here it takes five tritaves to get to [[15/11]] (tempering out the comma 6655/6561 in the 3.5.11 subgroup). This temperament yields 6-, 7-, 13-, and 20-note [[mos scale]]s. | |||
[[Category:Ed11/3| ]] <!-- main article --> | |||
[[Category:Edonoi]] | [[Category:Edonoi]] | ||
[[Category:Lists of scales]] | |||
Latest revision as of 12:06, 18 May 2025
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The equal division of 11/3 (ed11/3) is a tuning obtained by dividing the undecimal neutral fourteenth (11/3) into a number of equal steps. In flattone and flatter diatonic tunings, the major fourteenth will approximate this interval closest of the simple fourteenths.
Properties
Division of 11/3 into equal parts does not necessarily imply directly using this interval as an equivalence. Many, though not all, ed11/3 scales have a perceptually important false octave, with various degrees of accuracy.
One approach to ed11/3 tunings is the use of the 11:15:33 chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes five tritaves to get to 15/11 (tempering out the comma 6655/6561 in the 3.5.11 subgroup). This temperament yields 6-, 7-, 13-, and 20-note mos scales.