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{{Infobox ET}}
{{Infobox ET}}
{{Wikipedia|19 equal temperament}}
{{Wikipedia|19 equal temperament}}
{{EDO intro|19}}
{{ED intro}}
 
== History ==
Interest in this tuning system goes back to the sixteenth century, when composer Guillaume Costeley used it in his chanson [[Seigneur Dieu ta pitié]] of 1558. Costeley understood and desired the circulating aspect of this tuning, which he defined as dividing the just major second into three approximately equal parts. Costeley had other compositions that made use of intervals, such as the diminished third, which have a meaningful context in 19edo, but not in other tuning systems contemporary with the work.
 
In 1577, music theorist Francisco de Salinas proposed [[1/3-comma meantone]], in which the fifth is 694.786{{c}}; the fifth of 19edo is 694.737{{c}}, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which comes within less than one cent of closing exactly, so that his suggestion is effectively 19edo.
 
In 1835, mathematician and music theorist Wesley Woolhouse proposed it as a more practical alternative to meantone tunings he regarded as better, such as [[50edo|50 equal temperament]] ([http://www.tonalsoft.com/sonic-arts/monzo/woolhouse/essay.htm summary of Woolhouse's essay]).
 
== Theory ==
== Theory ==
=== History ===
19edo is the second edo, after [[12edo]], which is able to approximate [[5-limit]] intervals and chords with tolerable accuracy (unless you count [[15edo]], which has a 18-[[cent]]-sharp fifth). Having an almost just minor third and perfect fifths and major thirds about 7 cents flat, it serves as a good tuning for [[meantone]]. Unlike 12edo, where [[enharmonic]] notes are conflated, 19edo distinguishes them, and differs from [[17edo]] in that its [[diatonic semitone]] is wider than the [[chromatic semitone]], rather than narrower. In fact, it is nearly identical to the enharmonic scale of [[1/3-comma meantone]], and can be considered a closed form thereof.  
Interest in this tuning system goes back to the sixteenth century, when composer Guillaume Costeley used it in his chanson [[Seigneur Dieu ta pitié]] of 1558. Costeley understood and desired the circulating aspect of this tuning, which he defined as dividing the just major second into three approximately equal parts. Costeley had other compositions that made use of intervals, such as the diminished third, which have a meaningful context in 19edo, but not in other tuning systems contemporary with the work.


In 1577 music theorist Francisco de Salinas proposed [[1/3-comma meantone|{{frac|1|3}}-comma meantone]], in which the fifth is 694.786 cents; the fifth of 19edo is 694.737, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which comes within less than one cent of closing exactly, so that his suggestion is effectively 19edo.  
It is less successful in the [[7-limit]] as it conflates the septimal subminor third ([[7/6]]) with the septimal whole tone ([[8/7]]), but it is still better than 12edo overall.  


In 1835, mathematician and music theorist Wesley Woolhouse proposed it as a more practical alternative to meantone tunings he regarded as better, such as [[50edo|50 equal temperament]] ([http://www.tonalsoft.com/sonic-arts/monzo/woolhouse/essay.htm summary of Woolhouse's essay]).
=== Prime harmonics ===
{{Harmonics in equal|19|columns=12}}


=== As an approximation of other temperaments ===
=== As an approximation of other temperaments ===
19edo's most salient characteristic is that, having an almost just minor third and perfect fifths and major thirds about seven cents flat, it serves as a good tuning for [[meantone]]. It is also suitable for [[magic|magic/muggles]] temperament, because five of its major thirds are equivalent to one of its twelfths. For all of these there are more optimal tunings: the fifth of 19edo is flatter than the usual for meantone, and [[31edo]] is more optimal. Similarly, the generating interval of magic temperament is a major third, and again 19edo's is flatter; [[41edo]] more closely matches it. It does make for a good tuning for muggles, which in 19edo is the same as magic. 19edo's 7-step supermajor third can be used for [[sensi]], whose generator is a very sharp major third, two of which make an approximate 5/3 major sixth, though [[46edo]] is a better sensi tuning.
Besides meantone, 19edo is also suitable for [[magic]]/[[muggles]] temperament, because five of its major thirds are equivalent to one of its twelfths. Its 7-step supermajor third can be used for [[sensi]], whose generator is a very sharp major third, two of which make an approximate 5/3 major sixth.  


However, for all of these 19edo has the practical advantage of requiring fewer pitches, which makes it easier to implement in physical instruments, and many 19edo instruments have been built. 19et is in fact the second equal temperament, after 12et which is able to approximate [[5-limit]] intervals and chords with tolerable accuracy, and is the fifth (after 12) [[zeta integral edo]]. It is less successful in the [[7-limit]] (but still better than 12et), as it conflates the septimal subminor third ([[7/6]]) with the septimal whole tone ([[8/7]]). 19edo also has the advantage of being excellent for negri, keemun, godzilla, magic/muggles, and triton/liese, and fairly decent for sensi. Keemun and negri are of particular note for being very simple 7-limit temperaments, with their [[mos scale]]s in 19edo offering a great abundance of septimal tetrads. The [[Graham complexity]] of a 7-limit tetrad is 6 for keemun, 7 for negri, 8 for godzilla, 10 for meantone, 11 for triton, 12 for magic/muggles and 13 for sensi.
For all of these there are more optimal tunings: the fifth of 19edo is flatter than the usual for meantone, and [[31edo]] is more optimal. Similarly, the generating interval of magic temperament is a major third, and again 19edo's is flatter; [[41edo]] more closely matches it. It does make for a good tuning for muggles, but in 19edo it is the same as magic. Finally, 19edo can be used as a tuning for sensi, though [[46edo]] provides a better sensi tuning.


Being a zeta integral tuning, the no-11's 13-limit is represented relatively well and consistently. Practically 19edo can be used ''adaptively'' on instruments which allow you to bend notes up: by different amounts, the 3rd, 5th, 7th, and 13th harmonics are all tuned flat. This is in contrast to 12edo, where this is not possible since the 5 and 7 are not only much farther from just than they are in 19, but fairly sharp already. 19edo's [[negri]], [[sensi]] and [[semaphore]] scales have many 13-limit chords. (You can think of the sensi[8] [[3L 5s]] mos scale as 19edo's answer to the diminished scale. Both are made of two diminished seventh chords, but sensi[8] gives you additional ratios of 7 and 13.)
However, for all of these 19edo has the practical advantage of requiring fewer pitches, which makes it easier to implement in physical instruments, and many 19edo instruments have been built. 19edo also has the advantage of being excellent for [[negri]], [[keemun]], [[godzilla]], muggles, and [[triton]]/[[liese]]. Keemun and negri are of particular note for being very simple 7-limit temperaments, with their [[mos scale]]s in 19edo offering a great abundance of septimal tetrads. The [[Graham complexity]] of the [[4:5:6:7|7-odd-limit tetrad]] is 6 for keemun, 7 for negri, 8 for godzilla, 10 for meantone, 11 for triton, 12 for magic/muggles, and 13 for sensi.


Another option would be to employ [[octave stretching]]; the closest [[the Riemann zeta function and tuning #Optimal octave stretch|local zeta peak]] to 19 occurs at 18.9481, which makes the octaves 1203.29 cents, and a step size of between 63.2 and 63.4 cents would be preferable in theory. Pianos are frequently tuned with stretched octaves anyway due to the slight inharmonicity inherent in their strings, which makes 19edo a promising option for pianos with split sharps. Octave stretching also means that an out-of-tune interval can be replaced with a compounded or inverted version of it which is near-just. For example, if we are using [[49ed6]] or [[30ed3]] (which tune 6:1 and 3:1 just and have octaves stretched by 2.8 and 4.57 cents, respectively), then we have near-just minor thirds (6:5), compound major thirds (as 5:1), and compound fifths (as 6:1), giving us versions of everything in the 5-limit tonality diamond. The compound major and minor triads (1:5:6 and 30:6:5) are near-just as well. A more extreme option would be [[11edf]], which has octaves stretched by 12.47 cents.
=== As a means of extending harmony ===
Because 19edo's 5-limit chords are more blended and concordant than those of 12edo, it can be a much better candidate for using alternate forms of harmony such as quartal, secundal, and poly chords. [[William Lynch]] suggests the use of seventh chords of various types to be the fundamental sonorities with a triad deemed as incomplete. Higher extensions involving the 7th harmonic as well as other non-diatonic chord extensions which tend to clash in 12edo blend much better in 19edo.


=== As a means of extending harmony ===
In addition, [[Joseph Yasser]] talks about the idea of a 12-tone supra-diatonic scale where the 7-tone major scale in 19edo becomes akin to the pentatonic of western music; as it would sound to a future generation, ambiguous and not tonally fortified. As paraphrased "A system in which the undeniable laws of tonal gravity exist, yet in a much more complex tonal universe." Yasser believed that music would eventually move to a 19-tone system with a 12-note supra-diatonic scale would become the standard. While this has yet to happen, Yasser's concept of supra-diatonicity is intriguing and worth exploring for those wanting to extend tonality without sounding too alien.
Because 19edo allows for more blended, consonant harmonies than 12edo does, it can be a much better candidate for using alternate forms of harmony such as quartal, secundal, and poly chords. [[William Lynch]] suggests the use of seventh chords of various types to be the fundamental sonorities with a triad deemed as incomplete. Higher extensions involving the 7th harmonic as well as other non diatonic chord extensions which tend to clash in 12edo blend much better in 19edo.


19edo's diminished fifth is also a very accurate approximation of the 23rd harmonic, being only 3.3 cents off [[23/16]].
19edo also closely approximates most of the intervals of [[Bozuji tuning]], a 21st century tuning based on Gioseffo Zarlino's approach to just intonation. with most of the adjacent diatonic diminished and augmented intervals of Bozuji tuning represented enharmonically by one interval in 19edo.


In addition, [[Joseph Yasser]] talks about the idea of a 12 tone supra diatonic scale where the 7 tone major scale in 19edo becomes akin to the pentatonic of western music; as it would sound to a future generation, ambiguous and not tonally fortified. As paraphrased "A system in which the undeniable laws of tonal gravity exist, yet in a much more complex tonal universe." Yasser believed that music would eventually move to a 19-tone system with a 12-note supra diatonic scale would become the standard. While this has yet to happen, Yasser's concept of supra-diatonicity is intriguing and worth exploring for those wanting to extend tonality without sounding too alien.
Due to the narrow whole tones and wide diatonic semitones, 19edo's diatonic scale tends to sound somewhat dull compared to 12edo, but the pentatonic scale is said by many to sound much more expressive owing to the significantly larger contrast between the narrow whole tone and wide minor third. While 12edo has an expressive diatonic and dull pentatonic, the reverse is true in 19. Pentatonicism thus becomes more important in 19edo, and one option is to use the pentatonic scale as a sort of "super-chord", with "chord progressions" being modulations between pentatonic subsets of the superdiatonic scale.


19edo also closely approximates most of the intervals of [[Bozuji tuning]] (a 21st century tuning based on Gioseffo Zarlino's approach to just intonation). with most of the adjacent diatonic diminished and augmented intervals of Bozuji tuning represented enharmonically by one interval in 19edo.
=== Adaptive tuning ===
The no-11's 13-limit is represented relatively well and consistently. 19edo's negri, sensi and godzilla scales have many 13-limit chords. (You can think of the Sensi[8] [[3L 5s]] mos scale as 19edo's answer to the diminished scale. Both are made of two diminished seventh chords, but Sensi[8] gives you additional ratios of 7 and 13.) Its diminished fifth is also a very accurate approximation of the 23rd harmonic, being only 3.3{{c}} off [[23/16]].


Due to the narrow whole tones and wide diatonic semitones, 19edo's diatonic scale tends to sound somewhat dull compared to 12edo, but the pentatonic scale is said by many to sound much more expressive owing to the significantly larger contrast between the narrow whole tone and wide minor third. While 12edo has an expressive diatonic and dull pentatonic, the reverse is true in 19. Pentatonicism thus becomes more important in 19edo, and one option is to use the pentatonic scale as a sort of "super-chord", with "chord progressions" being modulations between pentatonic subsets of the superdiatonic scale.
Practically 19edo can be used ''adaptively'' on instruments which allow you to bend notes up: by different amounts, the 3rd, 5th, 7th, and 13th harmonics are all tuned flat. This is in contrast to 12edo, where this is not possible since the 5th and 7th harmonics are not only much farther from just than they are in 19edo, but fairly sharp already.  


=== Prime harmonics ===
Another option would be to use [[octave stretching]], which has similar benefits to adaptive use, but it also works for fixed-pitch Instruments. For more on that see the [[19edo#Octave stretch or compression|section on octave stretch]].
{{Harmonics in equal|19}}


=== Subsets and supersets ===
=== Subsets and supersets ===
19edo is the 8th [[prime edo]], following [[17edo]] and preceding [[23edo]].
19edo is the 8th [[prime edo]], following [[17edo]] and preceding [[23edo]]. As such, it does not contain any nontrivial subset edos, though it contains [[19ed4]].  


[[38edo]], which doubles 19edo, provides an approximation of harmonic 11 that works well with the flat tendency of its 5-limit mapping. See [[undevigintone]]. [[57edo]] effectively corrects the harmonic 7 to just, although it is [[76edo]] that fits the best. See [[meanmag]].
[[38edo]], which doubles 19edo, provides an approximation of harmonic 11 that works well with the flat tendency of its 5-limit mapping. See [[undevigintone]]. [[57edo]] effectively corrects the harmonic 7 to just, although it is [[76edo]] that fits the best. See [[meanmag]].
=== Miscellaneous properties ===
19edo has the flattest possible fifth of any edo that can possibly be [[diamond monotone]] in the [[15-odd-limit]]. Using 11\19 as the fifth, the sharpest possible mapping of [[5/4]] where [[10/9]] is no greater than [[9/8]] is 6\19, so the sharpest possible [[15/8]] is 17\19. Here [[16/15]] is a quarter of [[4/3]] (as in any [[negri]] tuning), so [[15/14]], [[14/13]], and [[13/12]] must all be equated with [[16/15]] to 2\19 for them to be monotone in size. If the fifth were any flatter, 5/4 and 15/8 would have to be flatter, and 16/15 would have to be sharper, so diamond monotone in the 15-odd-limit becomes impossible. 19edo is, in fact, diamond monotone in the 15-odd-limit, and even the [[17-odd-limit]] (see [[Monotonicity limits of small EDOs]]). The sharpest fifth where 15-odd-limit is possible is [[37edo#Miscellaneous properties|22\37]].


== Intervals ==
== Intervals ==
{| class="wikitable right-1 right-2 center-5 center-8"
{| class="wikitable center-1 right-2"
! [[Degree]]
|-
! [[Degree|#]]
! [[Cent]]s
! [[Cent]]s
! [[Interval region|Interval Region]]
! Note
! Approximated [[Just intonation|JI]] Intervals<ref group="note">{{sg|limit=2.3.5.7.13 subgroup}}</ref>
! Approximated ratios<ref group="note">As a [[2.3.5.7.13 subgroup|2.3.5.7.13-subgroup]] temperament</ref>
! [[Solfege]]
! [[Interval category]]
! colspan="2" | [[SKULO interval names|SKULO Interval]]
|-
|-
| 0
| 0
| 0.00
| 0.0
| D
| [[1/1]]
| Unison (prime)
| Unison (prime)
| [[1/1]]
|-
| 1
| 63.2
| D♯
| [[25/24]], [[26/25]], [[27/26]], [[28/27]]
| Augmented unison
|-
| 2
| 126.3
| E♭
| [[13/12]], [[14/13]], [[15/14]], [[16/15]]
| Minor second
|-
| 3
| 189.5
| E
| [[9/8]], [[10/9]]
| Major second
|-
| 4
| 252.6
| E♯/F♭
| [[7/6]], [[8/7]], [[15/13]]
| Augmented second/<br>Diminished third
|-
| 5
| 315.8
| F
| [[6/5]]
| Minor third
|-
| 6
| 378.9
| F♯
| [[5/4]], [[16/13]], [[56/45]]
| Major third
|-
| 7
| 442.1
| F𝄪/G♭
| [[9/7]], [[13/10]], [[21/16]], [[32/25]]
| Augmented third/<br>Diminished fourth
|-
| 8
| 505.3
| G
| [[4/3]], [[75/56]]
| Perfect fourth
|-
| 9
| 568.4
| G♯
| [[7/5]], [[18/13]], [[25/18]]
| Augmented fourth<br>(Small [[tritone]])
|-
| 10
| 631.6
| A♭
| [[10/7]], [[13/9]], [[36/25]]
| Diminished fifth<br>(Large [[tritone]])
|-
| 11
| 694.7
| A
| [[3/2]], [[112/75]]
| Perfect fifth
|-
| 12
| 757.9
| A♯/B𝄫
| [[14/9]], [[20/13]], [[25/16]], [[32/21]]
| Augmented fifth/<br>Diminished sixth
|-
| 13
| 821.1
| B♭
| [[8/5]], [[13/8]], [[45/28]]
| Minor sixth
|-
| 14
| 884.2
| B
| [[5/3]]
| Major sixth
|-
| 15
| 947.4
| B♯/C♭
| [[7/4]], [[12/7]], [[26/15]]
| Augmented sixth<br>Diminished seventh
|-
| 16
| 1010.5
| C
| [[9/5]], [[16/9]]
| Minor seventh
|-
| 17
| 1073.7
| C♯
| [[13/7]], [[15/8]], [[24/13]], [[28/15]]
| Major seventh
|-
| 18
| 1136.8
| D♭
| [[25/13]], [[27/14]], [[48/25]], [[52/27]]
| Augmented seventh
|-
| 19
| 1200.0
| D
| [[2/1]]
| Octave
|}
<references group="note"/>
 
=== Proposed interval names and solfèges ===
{| class="wikitable right-1 right-2 center-3 center-5 mw-collapsible mw-collapsed"
|+ style="white-space: nowrap;" | Table of proposed interval names and solfèges
|-
! #
! Cents
! [[Solfège]]
! colspan="2" | [[SKULO interval names]]
|-
| 0
| 0.0
| Do
| Do
| unison
| Unison
| P1
| P1
|-
|-
| 1
| 1
| 63.16
| 63.2
| Augmented unison
| [[25/24]], [[26/25]], [[28/27]]
| Di/Ro
| Di/Ro
| super unison, subminor second
| Super unison, subminor second
| S1, sm2
| S1, sm2
|-
|-
| 2
| 2
| 126.32
| 126.3
| Ra
| Minor second
| Minor second
| [[13/12]], [[14/13]], [[15/14]], [[16/15]]
| Ra
| minor second
| m2
| m2
|-
|-
| 3
| 3
| 189.47
| 189.5
| Re
| Major second
| Major second
| [[9/8]], [[10/9]]
| Re
| major second
| M2
| M2
|-
|-
| 4
| 4
| 252.63
| 252.6
| Diminished third
| [[7/6]], [[8/7]], [[15/13]]
| Ri/Ma
| Ri/Ma
| supermajor second, subminor third
| Supermajor second, subminor third
| SM2, sm3
| SM2, sm3
|-
|-
| 5
| 5
| 315.79
| 315.8
| Me
| Minor third
| Minor third
| [[6/5]]
| Me
| minor third
| m3
| m3
|-
|-
| 6
| 6
| 378.95
| 378.9
| Mi
| Major third
| Major third
| [[5/4]], [[16/13]], [[56/45]]
| Mi
| major third
| M3
| M3
|-
|-
| 7
| 7
| 442.11
| 442.1
| Augmented third
| [[9/7]], [[13/10]], [[32/25]]
| Mo/Fe
| Mo/Fe
| supermajor third, sub fourth
| Supermajor third, sub fourth
| SM3, s4
| SM3, s4
|-
|-
| 8
| 8
| 505.26
| 505.3
| Fa
| Perfect fourth
| Perfect fourth
| [[4/3]], [[75/56]]
| Fa
| perfect fourth
| P4
| P4
|-
|-
| 9
| 9
| 568.42
| 568.4
| Augmented fourth<br>(Small [[tritone]])
| [[7/5]], [[18/13]], [[25/18]]
| Fi
| Fi
| augmented fourth
| Augmented fourth
| A4
| A4
|-
|-
| 10
| 10
| 631.58
| 631.6
| Diminished fifth<br>(Large [[tritone]])
| [[10/7]], [[13/9]], [[36/25]]
| Se
| Se
| diminished fifth
| Diminished fifth
| d5
| d5
|-
|-
| 11
| 11
| 694.74
| 694.7
| So
| Perfect fifth
| Perfect fifth
| [[3/2]], [[112/75]]
| So
| perfect fifth
| P5
| P5
|-
|-
| 12
| 12
| 757.89
| 757.9
| Augmented fifth
| [[14/9]], [[20/13]], [[25/16]]
| Si/Lo
| Si/Lo
| super fifth, subminor 6th
| Super fifth, subminor sixth
| S5, sm6
| S5, sm6
|-
|-
| 13
| 13
| 821.05
| 821.1
| Le
| Minor sixth
| Minor sixth
| [[8/5]], [[13/8]], [[45/28]]
| Le
| minor sixth
| m6
| m6
|-
|-
| 14
| 14
| 884.21
| 884.2
| La
| Major sixth
| Major sixth
| [[5/3]]
| La
| major sixth
| M6
| M6
|-
|-
| 15
| 15
| 947.37
| 947.4
| Diminished seventh
| [[7/4]], [[12/7]], [[26/15]]
| Li/Ta
| Li/Ta
| supermajor sixth, subminor seventh
| Supermajor sixth, subminor seventh
| SM6, sm7
| SM6, sm7
|-
|-
| 16
| 16
| 1010.53
| 1010.5
| Te
| Minor seventh
| Minor seventh
| [[9/5]], [[16/9]]
| Te
| minor seventh
| m7
| m7
|-
|-
| 17
| 17
| 1073.68
| 1073.7
| Ti
| Major seventh
| Major seventh
| [[13/7]], [[15/8]], [[24/13]], [[28/15]]
| Ti
| major seventh
| M7
| M7
|-
|-
| 18
| 18
| 1136.84
| 1136.8
| Augmented seventh
| [[25/13]], [[27/14]], [[48/25]]
| To/Da
| To/Da
| supermajor seventh, sub octave
| Supermajor seventh, sub octave
| SM7, s8
| SM7, s8
|-
|-
| 19
| 19
| 1200.00
| 1200.0
| Do
| Octave
| Octave
| [[2/1]]
| Do
| octave
| P8
| P8
|}
|}


=== Interval quality and chord names in color notation ===
=== Interval quality and chord names in color notation ===
Using [[color notation]], qualities can be loosely associated with colors:
Using [[Kite's color notation]], qualities can be loosely associated with colors:


{| class="wikitable" style="text-align: center"
{| class="wikitable" style="text-align: center;"
|-
! Quality
! Quality
! [[Color name|Color Name]]
! Color name
! Monzo Format
! Monzo format
! Examples
! Examples
|-
|-
| diminished
| Diminished
| zo
| zo
| (a, b, 0, 1)
| {{nowrap|(''a'', ''b'', 0, 1)}}
| 7/6, 7/4
| 7/6, 7/4
|-
|-
| rowspan="2" | minor
| rowspan="2" | Minor
| fourthward wa
| fourthward wa
| (a, b), b &lt; -1
| (''a'',&nbsp;''b''), {{nowrap|''b'' < −1}}
| 32/27, 16/9
| 32/27, 16/9
|-
|-
| gu
| gu
| (a, b, -1)
| {{nowrap|(''a'', ''b'', −1)}}
| 6/5, 9/5
| 6/5, 9/5
|-
|-
| rowspan="2" | major
| rowspan="2" | Major
| yo
| yo
| (a, b, 1)
| {{nowrap|(''a'', ''b'', 1)}}
| 5/4, 5/3
| 5/4, 5/3
|-
|-
| fifthward wa
| fifthward wa
| (a, b), b &gt; 1
| (''a'',&nbsp;''b''), {{nowrap| ''b'' > 1 }}
| 9/8, 27/16
| 9/8, 27/16
|-
|-
| augmented
| Augmented
| ru
| ru
| (a, b, 0, -1)
| {{nowrap|(''a'', ''b'', 0, −1)}}
| 9/7, 12/7
| 9/7, 12/7
|}
|}


Key signatures are the same, but with the extra notes and different enharmonic equivalents, some key signatures can get messy. For example, the key of B&#x1D12B; would have double-flats on B and E, and flats on C, D, F, G, and A. Thinking of rewriting this key as A&#x266F; might seem better, but then the key signature would contain double-sharps on C, F, and G, and sharps on A, B, D, and E, which is actually worse.
Key signatures are the same, but with the extra notes and different enharmonic equivalents, some key signatures can get messy. For example, the key of B𝄫 would have double-flats on B and E, and flats on C, D, F, G, and A. Thinking of rewriting this key as A♯ might seem better, but then the key signature would contain double-sharps on C, F, and G, and sharps on A, B, D, and E, which is actually worse.


All 19edo chords can be named using conventional methods, expanded to include augmented and diminished 2nd, 3rds, 6ths and 7ths. Here are the zo, gu, yo and ru triads:
All 19edo chords can be named using conventional methods, expanded to include augmented and diminished seconds, thirds, sixths and sevenths. Here are the zo, gu, yo and ru triads:


{| class="wikitable center-1 center-2 center-3 center-4"
{| class="wikitable center-1 center-2 center-3 center-4"
! [[Kite's color notation|Color of the 3rd]]
|-
! JI Chord
! Color of the third
! JI chord
! Edosteps
! Edosteps
! Notes of C Chord
! Notes of C chord
! Written Name
! Written name
! Spoken Name
! Spoken name
|-
|-
| zo
| zo (7-over)
| 6:7:9
| 6:7:9
| 0–4–11
| 0–4–11
| C–E&#x1D12B;–G
| C–E𝄫–G
| Cm(&#x266D;3), Cmin(&#x266D;3), C(d3)
| Cm(♭3) or Cmin(♭3) or C(d3)
| C subminor, C minor flat-three, C diminished-three
| C subminor, C minor flat-three, C dim-three
|-
|-
| gu
| gu (5-under)
| 10:12:15
| 10:12:15
| 0–5–11
| 0–5–11
| C–E&#x266D;–G
| C–E♭–G
| Cm, Cmin
| Cm or Cmin
| C minor
| C minor
|-
|-
| yo
| yo (5-over)
| 4:5:6
| 4:5:6
| 0–6–11
| 0–6–11
| C–E–G
| C–E–G
| C, Cmaj
| C or Cmaj
| C, C major
| C, C major
|-
|-
| ru
| ru (7-under)
| 14:18:21
| 14:18:21
| 0–7–11
| 0–7–11
| C–E&#x266F;–G
| C–E♯–G
| C(&#x266F;3), Cmaj(&#x266F;3), C(A3)
| C(♯3) or Cmaj(♯3) or C(A3)
| C supermajor, C major sharp-three, C augmented-three
| C supermajor, C major sharp-three, C aug-three
|-
|-
|  
| yo (5-over)
| 4:5:6:7
| 4:5:6:7
| 0–6–11–15
| 0–6–11–15
| C–E–G–B&#x1D12B;
| C–E–G–B𝄫
| C(h7), Cadd(d7), Cmaj(add(d7))
| Ch7 or C,d7 or Cadd(d7)
| C harmonic 7, C (major) add dim-seven
| C harmonic 7, C (major) add dim-seven
|-
|-
|  
| gu (5-under)
| 1/(4:5:6:7)<br />= 1:6/5:3/2:12/7
| 1/(12:10:8:7)<br>(1–6/5–3/2–12/7)
| 0–5–11–15
| 0–5–11–15
| C–E&#x266D;–G–A&#x266F;
| C–E♭–G–A♯
| Cm(&#x266F;6), Cm(A6), Cm(add(&#x266F;6)), Cm(add(A6))
| Cm♯6 or CmA6 or Cm(add(♯6)) or Cm(add(A6))
| C minor (add) sharp-six, C minor (add) aug-six
| C minor (add) sharp-six, C minor (add) aug-six
|}
|}


The last two chords illustrate how the 15\19 interval can be considered as either 7/4 or 12/7, and how 19edo tends to conflate zo and ru ratios.
The last two chords illustrate how the 15\19 interval can be considered as either 7/4 or 12/7, and how 19edo conflates zo and ru ratios.
 
For a more complete list, see [[19edo chords #Ups and downs notation]] and [[Kite's ups and downs notation #Chords and chord progressions]].


For a more complete list, see [[19edo Chord Names]] and [[Ups and downs notation #Chords and Chord Progressions]].


== Notation ==
== Notation ==
=== Standard notation ===
=== Standard notation ===
Standard 12edo notation can be used, whether it is staff notation (with five lines), letter [[chain-of-fifths notation]] (with standard accidentals), solfege, or sargam. Note that D# and Eb are two different notes.
Standard 12edo notation can be used, whether it is staff notation (with five lines), letter [[chain-of-fifths notation]] (with standard accidentals), solfège, or sargam. Note that D# and Eb are two different notes.
 
Any 19edo note or interval can be [[enharmonic unison|respelled enharmonically]] by adding a double-diminished second to it or subtracting one from it. Adding a dd2 is equivalent to finding the 12edo equivalent with a higher degree, then diminishing it. For example, C# becomes Db, which is diminished to become Dbb.


{| class="wikitable right-1 right-2 center-3 center-4"
{| class="wikitable right-1 right-2 center-3 center-4"
|+ style="font-size: 105%;" | Notation of 19edo
|+ style="font-size: 105%;" | Notation of 19edo
! rowspan="2" | [[Degree]]
|-
! rowspan="2" | [[Degree|#]]
! rowspan="2" | [[Cent]]s
! rowspan="2" | [[Cent]]s
! colspan="2" | [[Chain-of-fifths notation|Standard Notation]]
! colspan="2" | [[Chain-of-fifths notation|Standard notation]]
|-
|-
! [[5L 2s|Diatonic Interval Names]]
! [[5L 2s|Diatonic interval names]]
! Note Names<br>on D
! Note names<br>on D
|-
|-
| 0
| 0
| 0.00
| 0.0
| '''Perfect unison (P1)'''
| '''Perfect unison (P1)'''
| '''D'''
| '''D'''
|-
|-
| 1
| 1
| 63.16
| 63.2
| Augmented unison (A1)<br>Diminished second (d2)
| Augmented unison (A1)<br>Diminished second (d2)
| D#<br>Ebb
| D#<br>Ebb
|-
|-
| 2
| 2
| 126.32
| 126.3
| Doubly augmented unison (AA1)<br>Minor second (m2)
| Doubly augmented unison (AA1)<br>Minor second (m2)
| Dx<br>Eb
| Dx<br>Eb
|-
|-
| 3
| 3
| 189.47
| 189.5
| '''Major second (M2)'''<br>Doubly diminished third (dd3)
| '''Major second (M2)'''<br>Doubly diminished third (dd3)
| '''E'''<br>Fbb
| '''E'''<br>Fbb
|-
|-
| 4
| 4
| 252.63
| 252.6
| Augmented second (A2)<br>Diminished third (d3)
| Augmented second (A2)<br>Diminished third (d3)
| E#<br>Fb
| E#<br>Fb
|-
|-
| 5
| 5
| 315.79
| 315.8
| Doubly augmented second (AA2)<br>'''Minor third (m3)'''
| Doubly augmented second (AA2)<br>'''Minor third (m3)'''
| Ex<br>'''F'''
| Ex<br>'''F'''
|-
|-
| 6
| 6
| 378.95
| 378.9
| '''Major third (M3)'''<br>Doubly diminished fourth (dd4)
| '''Major third (M3)'''<br>Doubly diminished fourth (dd4)
| '''F#'''<br>Gbb
| '''F#'''<br>Gbb
|-
|-
| 7
| 7
| 442.11
| 442.1
| Augmented third (A3)<br>Diminished fourth (d4)
| Augmented third (A3)<br>Diminished fourth (d4)
| Fx<br>Gb
| Fx<br>Gb
|-
|-
| 8
| 8
| 505.26
| 505.3
| '''Perfect fourth (P4)'''
| '''Perfect fourth (P4)'''
| '''G'''
| '''G'''
|-
|-
| 9
| 9
| 568.42
| 568.4
| Augmented fourth (A4)<br>Doubly diminished fifth (dd5)
| Augmented fourth (A4)<br>Doubly diminished fifth (dd5)
| G#<br>Abb
| G#<br>Abb
|-
|-
| 10
| 10
| 631.58
| 631.6
| Doubly augmented fourth (AA4)<br>Diminished fifth (d5)
| Doubly augmented fourth (AA4)<br>Diminished fifth (d5)
| Gx<br>Ab
| Gx<br>Ab
|-
|-
| 11
| 11
| 694.74
| 694.7
| '''Perfect fifth (P5)'''
| '''Perfect fifth (P5)'''
| '''A'''
| '''A'''
|-
|-
| 12
| 12
| 757.89
| 757.9
| Augmented fifth (A5)<br>Diminished sixth (d6)
| Augmented fifth (A5)<br>Diminished sixth (d6)
| A#<br>Bbb
| A#<br>Bbb
|-
|-
| 13
| 13
| 821.05
| 821.1
| Doubly augmented fifth (AA5)<br>Minor sixth (m6)
| Doubly augmented fifth (AA5)<br>Minor sixth (m6)
| Ax<br>Bb
| Ax<br>Bb
|-
|-
| 14
| 14
| 884.21
| 884.2
| '''Major sixth (M6)'''<br>Doubly diminished seventh (dd7)
| '''Major sixth (M6)'''<br>Doubly diminished seventh (dd7)
| '''B'''<br>Cbb
| '''B'''<br>Cbb
|-
|-
| 15
| 15
| 947.37
| 947.4
| Augmented sixth (A6)<br>Diminished seventh (d7)
| Augmented sixth (A6)<br>Diminished seventh (d7)
| B#<br>Cb
| B#<br>Cb
|-
|-
| 16
| 16
| 1010.53
| 1010.5
| Doubly augmented sixth (AA6)<br>'''Minor seventh (m7)'''
| Doubly augmented sixth (AA6)<br>'''Minor seventh (m7)'''
| Bx<br>'''C'''
| Bx<br>'''C'''
|-
|-
| 17
| 17
| 1073.68
| 1073.7
| Major seventh (M7)<br>Doubly diminished octave (dd8)
| Major seventh (M7)<br>Doubly diminished octave (dd8)
| C#<br>Dbb
| C#<br>Dbb
|-
|-
| 18
| 18
| 1136.84
| 1136.8
| Augmented seventh (A7)<br>Diminished octave (d8)
| Augmented seventh (A7)<br>Diminished octave (d8)
| Cx<br>Db
| Cx<br>Db
|-
|-
| 19
| 19
| 1200.00
| 1200.0
| '''Perfect octave (P8)'''
| '''Perfect octave (P8)'''
| '''D'''
| '''D'''
Line 427: Line 535:
In 19edo:
In 19edo:
* [[Ups and downs notation]] is identical to standard notation;
* [[Ups and downs notation]] is identical to standard notation;
* Mixed [[sagittal notation]] is identical to standard notation, but pure sagittal notation exchanges sharps (&#x266F;) and flats (&#x266D;) for sagittal sharp ([[File:Sagittal sharp.png]]) and sagittal flat ([[File:Sagittal flat.png]]) respectively.
* Mixed [[sagittal notation]] is identical to standard notation, but pure sagittal notation exchanges sharps (♯) and flats (♭) for sagittal sharp ([[File:Sagittal sharp.png]]) and sagittal flat ([[File:Sagittal flat.png]]) respectively.
 
{{Sharpness-sharp1}}
 
=== Sagittal notation ===
This notation uses the same sagittal sequence as edos [[5edo #Sagittal notation|5]], [[12edo #Sagittal notation|12]], and [[26edo #Sagittal notation|26]], and is a subset of the notations for edos [[38edo #Sagittal notation|38]], [[57edo #Sagittal notation|57]], and [[76edo #Sagittal notation|76]].
 
==== Evo flavor ====
{{Sagittal chart|Evo}}
 
Because it includes no Sagittal symbols, this Evo Sagittal notation is identical to conventional notation.
 
==== Revo flavor ====
{{Sagittal chart}}


=== Dodecatonic notation ===
=== Dodecatonic notation ===
{| class="wikitable right-1 right-2 mw-collapsible mw-collapsed"
{| class="wikitable right-1 right-2 mw-collapsible mw-collapsed"
|+ style="font-size: 105%; white-space: nowrap;" | Dodecatonic Notation of 19edo
|+ style="font-size: 105%; white-space: nowrap;" | Dodecatonic notation of 19edo
! [[Degree]]
|-
! [[Degree|#]]
! [[Cent]]s
! [[Cent]]s
! Interval Names
! Interval names
|-
|-
| 0
| 0
| 0.00
| 0.0
| P1
| P1
|-
|-
| 1
| 1
| 63.16
| 63.2
| A1, m2
| A1, m2
|-
|-
| 2
| 2
| 126.32
| 126.3
| M2, m3
| M2, m3
|-
|-
| 3
| 3
| 189.47
| 189.5
| M3
| M3
|-
|-
| 4
| 4
| 252.63
| 252.6
| m4, A3
| m4, A3
|-
|-
| 5
| 5
| 315.79
| 315.8
| M4, m5
| M4, m5
|-
|-
| 6
| 6
| 378.95
| 378.9
| M5
| M5
|-
|-
| 7
| 7
| 442.11
| 442.1
| A5, d6
| A5, d6
|-
|-
| 8
| 8
| 505.26
| 505.3
| P6
| P6
|-
|-
| 9
| 9
| 568.42
| 568.4
| A6, m7
| A6, m7
|-
|-
| 10
| 10
| 631.58
| 631.6
| M7, d8
| M7, d8
|-
|-
| 11
| 11
| 694.74
| 694.7
| P8
| P8
|-
|-
| 12
| 12
| 757.89
| 757.9
| A8, m9
| A8, m9
|-
|-
| 13
| 13
| 821.05
| 821.1
| M9, m10
| M9, m10
|-
|-
| 14
| 14
| 884.21
| 884.2
| M10
| M10
|-
|-
| 15
| 15
| 947.37
| 947.4
| m11, A10
| m11, A10
|-
|-
| 16
| 16
| 1010.53
| 1010.5
| M11, m12
| M11, m12
|-
|-
| 17
| 17
| 1073.68
| 1073.7
| M12
| M12
|-
|-
| 18
| 18
| 1136.84
| 1136.8
| A12, d13
| A12, d13
|-
|-
| 19
| 19
| 1200.00
| 1200.0
| P13
| P13
|}
|}
Line 525: Line 647:
== Regular temperament properties ==
== Regular temperament properties ==
{| class="wikitable center-4 center-5 center-6"
{| class="wikitable center-4 center-5 center-6"
|-
! rowspan="2" | [[Subgroup]]
! rowspan="2" | [[Subgroup]]
! rowspan="2" | [[Comma list|Comma List]]
! rowspan="2" | [[Comma list]]
! rowspan="2" | [[Mapping]]
! rowspan="2" | [[Mapping]]
! rowspan="2" | Optimal<br>8ve Stretch (¢)
! rowspan="2" | Optimal<br>8ve stretch (¢)
! colspan="2" | Tuning Error
! colspan="2" | Tuning error
|-
|-
! [[TE error|Absolute]] (¢)
! [[TE error|Absolute]] (¢)
Line 536: Line 659:
| 2.3
| 2.3
| {{monzo| -30 19 }}
| {{monzo| -30 19 }}
| [{{val| 19 30 }}]
| {{mapping| 19 30 }}
| +2.28
| +2.277
| 2.28
| 2.277
| 3.61
| 3.612
|-
|-
| 2.3.5
| 2.3.5
| 81/80, 3125/3072
| 81/80, 3125/3072
| [{{val| 19 30 44 }}]
| {{mapping| 19 30 44 }}
| +2.58
| +2.578
| 1.91
| 1.911
| 3.02
| 3.025
|-
|-
| 2.3.5.7
| 2.3.5.7
| 49/48, 81/80, 126/125
| 49/48, 81/80, 126/125
| [{{val| 19 30 44 53 }}]
| {{mapping| 19 30 44 53 }}
| +3.85
| +3.848
| 2.76
| 2.755
| 4.35
| 4.362
|-
|-
| 2.3.5.7.13
| 2.3.5.7.13
| 49/48, 65/64, 81/80, 91/90
| 49/48, 65/64, 81/80, 91/90
| [{{val| 19 30 44 53 70 }}]
| {{mapping| 19 30 44 53 70 }}
| +4.14
| +4.135
| 2.53
| 2.530
| 3.99
| 4.006
|-
|-
| 2.3.5.7.13.23
| 2.3.5.7.13.23
| 49/48, 65/64, 70/69, 81/80, 91/90
| 49/48, 65/64, 70/69, 81/80, 91/90
| [{{val| 19 30 44 53 70 86 }}]
| {{mapping| 19 30 44 53 70 86 }}
| +3.32
| +3.319
| 2.93
| 2.936
| 4.64
| 4.649
|}
|}
 
* 19et is lower in relative error than any previous equal temperaments in the 5-, 7-, 13-, 17-, and 19-limit&mdash;''both'' 19 and 19e val achieve this in the case of 13-limit, 19eg val in the 17-limit, and 19egh val in the 19-limit. The next equal temperaments doing better in those subgroups are [[34edo|34]], [[31edo|31]], [[27edo|27e]], [[22edo|22]], and [[26edo|26]], respectively.  
19et is lower in relative error than any previous equal temperaments in the 5-, 7-, 13-, 17-, and 19-limit – ''both'' 19 and 19e val achieve this in the case of 13-limit, 19eg val in the 17-limit, and 19egh val in the 19-limit. The next equal temperaments doing better in those subgroups are [[34edo|34]], [[31edo|31]], [[27edo|27e]], [[22edo|22]], and [[26edo|26]], respectively.  
* 19et is best in the 2.3.5.7.13 subgroup, and the next equal temperament that does better in this is [[53edo|53]].
 
19et is prominent in the 2.3.5.7.13 subgroup, and the next equal temperament that does better in this is [[53edo|53]].


=== Uniform maps ===
=== Uniform maps ===
{{Uniform map|13|18.5|19.5}}
{{Uniform map|edo=19}}


=== Commas ===
=== Commas ===
19et [[tempers out]] the following [[comma]]s. (Note: This assumes the [[val]] {{val| 19 30 44 53 66 70 }}.)
19et [[tempering out|tempers out]] the following [[comma]]s. (Note: This assumes the [[val]] {{val| 19 30 44 53 66 70 }}.)


{| class="commatable wikitable center-all left-3 right-4 left-6"
{| class="commatable wikitable center-all left-3 right-4 left-6"
! [[Harmonic limit|Prime<br>Limit]]
|-
! [[Ratio]]<ref group="note">{{rd|10}}</ref>
! [[Harmonic limit|Prime<br>limit]]
! [[Ratio]]<ref group="note">{{rd}}</ref>
! [[Monzo]]
! [[Monzo]]
! [[Cents]]
! [[Cents]]
! [[Color notation/Temperament Names|Color Name]]
! [[Color notation/Temperament names|Color name]]
! Name
! Name
|-
|-
Line 677: Line 799:
| 35.70
| 35.70
| Zozo
| Zozo
| Slendro diesis
| Semaphoresma, slendro diesis
|-
|-
| 7
| 7
Line 747: Line 869:
| 1.63
| 1.63
| Latriru-asepyo
| Latriru-asepyo
| [[Meter comma]]
| [[Metric comma]]
|-
|-
| 7
| 7
Line 824: Line 946:
| 25.42
| 25.42
| Thuthutrizo
| Thuthutrizo
|
|  
|-
|-
| 13
| 13
Line 856: Line 978:
| 23
| 23
| [[70/69]]
| [[70/69]]
| {{monzo| 1 -1 1 1 0 0 0 0 -}}
| {{monzo| 1 -1 1 1 0 0 0 0 -1 }}
| 24.91
| 24.91
| Twethuzoyo
| Twethuzoyo
Line 903: Line 1,025:
| Triaphonisma
| Triaphonisma
|}
|}
<references/>
<references group="note" />


=== Linear temperaments ===
=== Linear temperaments ===
Line 909: Line 1,031:
* [[List of 19et rank two temperaments by complexity]]
* [[List of 19et rank two temperaments by complexity]]
* [[List of edo-distinct 19et rank two temperaments]]
* [[List of edo-distinct 19et rank two temperaments]]
* [[Syntonic-kleismic equivalence continuum]]
* [[Syntonic–kleismic equivalence continuum]]


Since 19 is prime, all rank-2 temperaments in 19edo have one period per octave (i.e. are linear). Therefore you can make a correspondence between intervals and the linear temperaments they generate.
Since 19 is prime, all rank-2 temperaments in 19edo have one period per octave (i.e. are linear). Therefore you can make a correspondence between intervals and the linear temperaments they generate.
Line 918: Line 1,040:
! Cents
! Cents
! Interval
! Interval
! MOSes
! Mos scales
! Temperaments
! Temperaments
|-
|-
Line 925: Line 1,047:
| A1, d2
| A1, d2
|  
|  
| [[Unicorn]] / [[rhinocerus]]
| [[Unicorn]] / [[Rhinoceros]]
|-
|-
| 2
| 2
| 126.32
| 126.32
| m2
| m2
| [[1L 8s]], [[9L 1s]]
| [[1L&nbsp;8s]], [[9L&nbsp;1s]]
| [[Negri]]
| [[Negri]]
|-
|-
Line 936: Line 1,058:
| 189.47
| 189.47
| M2
| M2
| [[1L 5s]], [[6L 1s]], [[6L 7s]]
| [[1L&nbsp;5s]], [[6L&nbsp;1s]], [[6L&nbsp;7s]]
| [[Deutone]]<br>[[Spell]]
| [[Deutone]] <br>[[Xenial]] / [[Sensamagic clan #Xenia|Xenia]] <br>[[Spell]]
|-
|-
| 4
| 4
| 252.63
| 252.63
| A2, d3
| A2, d3
| [[1L 3s]], [[4L 1s]], <br>[[5L 4s]], [[5L 9s]]
| [[1L&nbsp;3s]], [[4L&nbsp;1s]], <br>[[5L&nbsp;4s]], [[5L&nbsp;9s]]
| [[Godzilla]]
| [[Godzilla]] / [[Helayo]]
|-
|-
| 5
| 5
| 315.79
| 315.79
| m3
| m3
| [[3L 1s]], [[4L 3s]], <br>[[4L 7s]], [[4L 11s]]
| [[3L&nbsp;1s]], [[4L&nbsp;3s]], <br>[[4L&nbsp;7s]], [[4L&nbsp;11s]]
| [[Cata]] / [[keemun]]
| [[Cata]] / [[keemun]]
|-
|-
Line 954: Line 1,076:
| 378.95
| 378.95
| M3
| M3
| [[3L 1s]], [[3L 4s]], [[3L 7s]], <br>[[3L 10s]], [[3L 13s]]
| [[3L&nbsp;1s]], [[3L&nbsp;4s]], [[3L&nbsp;7s]], <br>[[3L&nbsp;10s]], [[3L&nbsp;13s]]
| [[Magic]] / [[muggles]]
| [[Magic]] / [[muggles]]
|-
|-
Line 960: Line 1,082:
| 442.11
| 442.11
| A3, d4
| A3, d4
| [[3L 2s]], [[3L 5s]], [[8L 3s]]
| [[3L&nbsp;2s]], [[3L&nbsp;5s]], [[8L&nbsp;3s]]
| [[Sensi]]
| [[Sensi]]
|-
|-
Line 966: Line 1,088:
| 505.26
| 505.26
| P4
| P4
| [[2L 3s]], [[5L 2s]], [[7L 5s]]
| [[2L&nbsp;3s]], [[5L&nbsp;2s]], [[7L&nbsp;5s]]
| [[Meantone]] / [[flattone]]
| [[Meantone]] / [[flattone]]
|-
|-
Line 972: Line 1,094:
| 568.42
| 568.42
| A4
| A4
| [[2L 3s]], [[2L 5s]], [[2L 7s]], <br>[[2L 9s]], [[2L 11s]], [[2L 13s]], <br>[[2L 15s]]
| [[2L&nbsp;3s]], [[2L&nbsp;5s]], [[2L&nbsp;7s]], <br>[[2L&nbsp;9s]], [[2L&nbsp;11s]], [[2L&nbsp;13s]], <br>[[2L&nbsp;15s]]
| [[Liese]] / [[pycnic]]<br>[[Triton]]
| [[Liese]] <br>[[Triton]] / [[pycnic]]
|}
|}
== Octave stretch or compression ==
19edo is a promising option as a meantone tuning for pianos if split sharps are acceptable, since pianos are frequently tuned with stretched octaves due to the slight [[inharmonicity]] inherent in their strings. It also works well with harpsichords, since many have been, and are, built with split sharps.
Octave stretching also means that an out-of-tune interval can be replaced with a compounded or inverted version of it which is near-[[just]]. For example, if we are using [[49ed6]] or [[30edt]] (which tune 6:1 and 3:1 just and have octaves stretched by 2.8 and 4.57{{c}}, respectively), then we have near-just minor thirds (6:5), compound major thirds (as 5:1), and compound fifths (as 6:1), giving us versions of everything in the 5-odd-limit [[tonality diamond]]. The compound major and minor triads (1:5:6 and 30:6:5) are near-just as well. Another possible choice is [[ZPI|65zpi]].


== Scales ==
== Scales ==
=== MOS scales ===
=== MOS scales ===
{{Main|List of MOS scales in {{PAGENAME}}}}
==== Octave-equivalent mosses ====
==== Octave-equivalent mosses ====
* [[meantone]] pentatonic, [[2L 3s]] (gen = 11\19): 3 3 5 3 5
* [[Meantone]] pentic, [[2L 3s]] (gen = 11\19): 3 3 5 3 5
* [[meantone]] diatonic, [[5L 2s]] (gen = 11\19): 3 3 2 3 3 3 2
* [[Meantone]] diatonic, [[5L 2s]] (gen = 11\19): 3 3 2 3 3 3 2
* [[meantone]] chromatic, [[7L 5s]] (gen = 11\19): 2 1 2 1 2 2 1 2 1 2 1 2
* [[Meantone]] chromatic, [[7L 5s]] (gen = 11\19): 2 1 2 1 2 2 1 2 1 2 1 2
* [[semaphore]][5], [[4L 1s]] (gen = 4\19): 4 4 3 4 4
* [[Semaphore]][5], [[4L 1s]] (gen = 4\19): 4 4 3 4 4
* [[semaphore]][9], [[5L 4s]] (gen = 4\19): 3 1 3 1 3 3 1 3 1
* [[Semaphore]][9], [[5L 4s]] (gen = 4\19): 3 1 3 1 3 3 1 3 1
* [[semaphore]][14], [[5L 9s]] (gen = 4\19): 2 1 2 1 1 2 1 1 2 1 1 2 1 1
* [[Semaphore]][14], [[5L 9s]] (gen = 4\19): 2 1 2 1 1 2 1 1 2 1 1 2 1 1
* [[sensi]][5], [[2L 3s]] (gen = 7\19): 5 2 5 2 5
* [[Sensi]][5], [[2L 3s]] (gen = 7\19): 5 2 5 2 5
* [[sensi]][8], [[3L 5s]] (gen = 7\19): 2 3 2 2 3 2 2 3
* [[Sensi]][8], [[3L 5s]] (gen = 7\19): 2 3 2 2 3 2 2 3
* [[sensi]][11], [[8L 3s]] (gen = 7\19): 2 2 1 2 2 2 1 2 2 2 1
* [[Sensi]][11], [[8L 3s]] (gen = 7\19): 2 2 1 2 2 2 1 2 2 2 1
* [[negri]][9], [[1L 8s]] (gen = 2\19): 2 2 2 2 3 2 2 2 2
* [[Negri]][9], [[1L 8s]] (gen = 2\19): 2 2 2 2 3 2 2 2 2
* [[negri]][10], [[9L 1s]] (gen = 2\19): 2 2 2 2 2 1 2 2 2 2
* [[Negri]][10], [[9L 1s]] (gen = 2\19): 2 2 2 2 2 1 2 2 2 2
* [[kleismic]][7], [[4L 3s]] (gen = 5\19): 1 4 1 4 1 4 4
* [[Kleismic]][7], [[4L 3s]] (gen = 5\19): 1 4 1 4 1 4 4
* [[kleismic]][11], [[4L 7s]] (gen = 5\19): 1 3 1 1 3 1 1 3 1 3 1
* [[Kleismic]][11], [[4L 7s]] (gen = 5\19): 1 3 1 1 3 1 1 3 1 3 1
* [[kleismic]][15], [[4L 11s]] (gen = 5\19): 1 2 1 1 1 2 1 1 1 2 1 1 2 1 1
* [[Kleismic]][15], [[4L 11s]] (gen = 5\19): 1 2 1 1 1 2 1 1 1 2 1 1 2 1 1
* [[magic]][7], [[3L 4s]] (gen = 6\19): 5 1 5 1 5 1 1
* [[Magic]][7], [[3L 4s]] (gen = 6\19): 5 1 5 1 5 1 1
* [[magic]][10], [[3L 7s]] (gen = 6\19): 4 1 1 4 1 1 4 1 1 1
* [[Magic]][10], [[3L 7s]] (gen = 6\19): 4 1 1 4 1 1 4 1 1 1
* [[magic]][13], [[3L 10s]] (gen = 6\19): 3 1 1 1 3 1 1 1 3 1 1 1 1
* [[Magic]][13], [[3L 10s]] (gen = 6\19): 3 1 1 1 3 1 1 1 3 1 1 1 1
* [[magic]][16], [[3L 13s]] (gen = 6\19): 2 1 1 1 1 2 1 1 1 1 2 1 1 1 1 1
* [[Magic]][16], [[3L 13s]] (gen = 6\19): 2 1 1 1 1 2 1 1 1 1 2 1 1 1 1 1
* [[liese]][17], [[2L 15s]] (gen = 9\19): 2 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1
* [[Liese]][17], [[2L 15s]] (gen = 9\19): 2 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1


=== Other scales ===
=== Other scales ===
{{Main|19edo modes}}
* Meantone harmonic minor: 3 2 3 3 2 4 2
* Meantone harmonic minor: 3 2 3 3 2 4 2
* Meantone melodic minor: 3 2 3 3 3 3 2
* Meantone melodic minor: 3 2 3 3 3 3 2 (ascending), 3 2 3 3 2 3 3 (descending)
* Meantone harmonic major: 3 3 2 3 2 4 2
* Meantone harmonic major: 3 3 2 3 2 4 2
* chromatic octave species - Meantone / [[marvel double harmonic major]] (subset of Negri[9]): 2 4 2 3 2 4 2
* Chromatic octave species – meantone / [[marvel double harmonic major]] (subset of Negri[9]): 2 4 2 3 2 4 2
* chromatic octave species (subset of Negri[9]): 2 2 4 3 2 2 4
* Chromatic octave species (subset of Negri[9]): 2 2 4 3 2 2 4
* chromatic octave species - [[Sahara]] septatonic (subset of Negri[9]): 4 2 2 3 4 2 2
* Chromatic octave species - [[Sahara]] septatonic (subset of Negri[9]): 4 2 2 3 4 2 2
* [[Marvel hexatonic]] (subset of Negri[9]): 4 2 5 2 4 2
* [[Marvel hexatonic]] (subset of Negri[9]): 4 2 5 2 4 2
* enharmonic pentatonic: 2 6 3 2 6
* Enharmonic pentatonic: 2 6 3 2 6
* enharmonic pentatonic: 6 2 3 6 2
* Enharmonic pentatonic: 6 2 3 6 2
* enharmonic octave species: 1 1 6 3 1 1 6
* Enharmonic octave species: 1 1 6 3 1 1 6
* enharmonic octave species: 6 1 1 3 6 1 1
* Enharmonic octave species: 6 1 1 3 6 1 1
* enharmonic octave species: 1 6 1 3 1 6 1
* Enharmonic octave species: 1 6 1 3 1 6 1
* [[Pinetone#Pinetone octatonic scales|Pinetone major-harmonic octatonic]]: 3 2 3 1 2 3 2 3 (subset of Meantone[12])
* [[Pinetone #Pinetone octatonic scales|Pinetone major-harmonic octatonic]]: 3 2 3 1 2 3 2 3 (subset of Meantone[12])
*[[Pinetone#Pinetone octatonic scales|Pinetone minor-harmonic octatonic]]: 3 2 1 3 2 3 3 2 (subset of Meantone[12])
* [[Pinetone #Pinetone octatonic scales|Pinetone minor-harmonic octatonic]]: 3 2 1 3 2 3 3 2 (subset of Meantone[12])
*[[Pinetone#Pinetone diminished octatonic|Pinetone diminished octatonic]] / [[Porcusmine]]: 2 3 1 3 2 3 2 3
* [[Pinetone #Pinetone diminished octatonic|Pinetone diminished octatonic]] / [[Porcusmine]]: 2 3 1 3 2 3 2 3
*[[Pinetone#Pinetone harmonic diminished octatonic|Pinetone harmonic diminished]]: 2 3 1 4 1 3 2 3
* [[Pinetone #Pinetone harmonic diminished octatonic|Pinetone harmonic diminished]]: 2 3 1 4 1 3 2 3
* [[Blackville]] / [[SNS ((2/1, 3/2)-5, 16/15)-10|5-limit dipentatonic]] (superset of Meantone[7]): 1 2 3 2 1 2 3 2 1 2
* [[Blackville]] / [[SNS ((2/1, 3/2)-5, 16/15)-10|5-limit dipentatonic]] (superset of Meantone[7]): 1 2 3 2 1 2 3 2 1 2
* [[Antipental blues]]: 4 4 1 2 4 4
* [[Antipental blues]]: 4 4 1 2 4 4
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* [[Primer for 19edo]]
* [[Primer for 19edo]]
* [[Mason Green's New Common Practice Notation]]
* [[Mason Green's New Common Practice Notation]]
* [[Arto and Tendo Theory]]
* [[Extraclassical tonality]]
* [[Lumatone mapping for 19edo]]
* [[Lumatone mapping for 19edo]]
=== Notes ===
<references group="note" />
=== References ===
* Bucht, Saku and Huovinen, Erkki, ''Perceived consonance of harmonic intervals in 19-tone equal temperament'', CIM04_proceedings.
* Levy, Kenneth J., ''Costeley's Chromatic Chanson'', Annales Musicologues: Moyen-Age et Renaissance, Tome III (1955), pp. 213-261.


== Further reading ==
== Further reading ==
Line 1,065: Line 1,189:
* [[Bostjan Zupancic]]'s [https://sites.google.com/site/bostjanzupancickhereb/home/bostjan/microtones/19edo 19-EDO pages]  
* [[Bostjan Zupancic]]'s [https://sites.google.com/site/bostjanzupancickhereb/home/bostjan/microtones/19edo 19-EDO pages]  
* [https://sites.google.com/view/19edoscales Catalog of all 19edo heptatonic scales]
* [https://sites.google.com/view/19edoscales Catalog of all 19edo heptatonic scales]
=== References ===
* Bucht, Saku and Huovinen, Erkki, ''Perceived consonance of harmonic intervals in 19-tone equal temperament'', CIM04_proceedings.
* Levy, Kenneth J., ''Costeley's Chromatic Chanson'', Annales Musicologues: Moyen-Age et Renaissance, Tome III (1955), pp. 213-261.


[[Category:19-tone scales]]
[[Category:19-tone scales]]
[[Category:Godzilla]]
[[Category:Golden meantone]]
[[Category:Golden meantone]]
[[Category:Kleismic]]
[[Category:Kleismic]]
Line 1,072: Line 1,201:
[[Category:Magic]]
[[Category:Magic]]
[[Category:Negri]]
[[Category:Negri]]
[[Category:Semaphore]]
[[Category:Sensi]]
[[Category:Sensi]]
[[Category:Teentuning]]
[[Category:Teentuning]]
[[Category:Historical]]
[[Category:Historical]]
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