Equiheptatonic: Difference between revisions

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Musical traditions that make use of equiheptatonic scales include:

* Eastern [[Angolan]] ~~music~~

* [[Music of Georgia|Georgian music]]

* [[~~Cambodian~~]] ~~classical music~~

* Eastern [[Angolan music]]

* Ancient [[Chinese music]]

* [[Ancient Greek]] auloi music

* [[~~Laotian~~]] ~~classical~~ music

* [[Chopi music]] from Mozambique (inspired [[Erv Wilson]] to create the [[mavila]] temperament)

* [[~~Thai~~]] ~~classical~~ music

* [[Mande music]] from West Africa

* [[~~Vietnamese~~]] classical music

* [[Shona music]] from Zimbabwe

* ~~Lower~~ [[~~Zambezi~~]] music

* Lower [[Zambezi music]]

** [[~~Nyungwe~~]] ~~music~~

** [[Nyungwe music]]

Note that just because a tradition has an equiheptatonic scale doesn’t mean it uses it exclusively. They often have other tunings too. Also, the term “scale” here is used loosely, because many, perhaps the majority, of musical traditions don’t use scales, but use something else like ~~tetrachords~~, raag, etc. that scales can only loosely model.

* ''[[Cambodian music|Cambodian classical music]] (disputed<ref name="Garzoli">Garzoli, John. [http://iftawm.org/journal/oldsite/articles/2015b/Garzoli_AAWM_Vol_4_2.pdf ''The Myth of Equidistance in Thai Tuning.'']</ref>)''

* ''[[Laotian music|Laotian classical music]] (disputed<ref name="Garzoli" />)''

* ''[[Thai music|Thai classical music]] (disputed<ref name="Garzoli" />)''

* ''[[Vietnamese music|Vietnamese classical music]] (disputed<ref name="Garzoli" />)''

Note that just because a tradition has an equiheptatonic scale doesn’t mean it uses it exclusively. They often have other tunings too. Also, the term “scale” here is used loosely, because many, perhaps the majority, of musical traditions don’t use scales, but use something else like [[tetrachord]]s, [[Indian|raag]], etc. that scales can only loosely model.

An exactly equal equiheptatonic scale equals [[7edo]], which is popular with modern Western xenharmonic composers.

An exactly equal equiheptatonic scale equals '''[[7edo]]''', which is popular with modern Western xenharmonic composers.

== Equiheptatonic scales in edos ==

All multiple-of-7 [[edo]]s ({{EDOs|7, 14, 21, 28, 35…}}) contain the exactly equal 7edo equiheptatonic scale.

In most traditions that use them, equiheptatonic scales are slightly unequal and slightly closer to [[just]] (rarely slightly further from, but only by a tiny amount). There are a diverse array of those used in different regions.

For that reason, it might be more fruitful for composers to explore edos with equiheptatonic scales that share those characteristics. that is, after all, its own diverse array of subtly different equiheptatonic scales.

Such edos include:

; 1edo to 40edo

; 41edo to 60edo

; 61edo to 80edo

; 81edo to 100edo

From the list it can be seen that edos with this type of equiheptatonic scale are often [[runoff]] edos{{idiosyncratic}}, they are often [[dual-fifth]] edos and they often support [[flattone]], [[flattertone]], or a related temperament. None of these things are always true: just true more often than chance.

== See also ==

* [[Equipentatonic]]

* [[African music]]

* [[5- to 10-tone scales from the modes of the harmonic series#Macrotonal NEJI edos|Macrotonal NEJI edos]]: the 7-tone ones are examples of equiheptatonic scales

== Notes ==

[[Category:7-tone scales]][[Category:7edo]][[Category:Traditions]]

@@ Line 4: / Line 4: @@
 Musical traditions that make use of equiheptatonic scales include:
-* Eastern [[Angolan]] music
+* [[Music of Georgia|Georgian music]]
-* [[Cambodian]] classical music
+* Eastern [[Angolan music]]
+* Ancient [[Chinese music]]
 * [[Ancient Greek]] auloi music
-* [[Laotian]] classical music
+* [[Chopi music]] from Mozambique (inspired [[Erv Wilson]] to create the [[mavila]] temperament)
-* [[Thai]] classical music
+* [[Mande music]] from West Africa
-* [[Vietnamese]] classical music
+* [[Shona music]] from Zimbabwe
-* Lower [[Zambezi]] music
+* Lower [[Zambezi music]]
-** [[Nyungwe]] music
+** [[Nyungwe music]]
-Note that just because a tradition has an equiheptatonic scale doesn’t mean it uses it exclusively. They often have other tunings too. Also, the term “scale” here is used loosely, because many, perhaps the majority, of musical traditions don’t use scales, but use something else like tetrachords, raag, etc. that scales can only loosely model.
+* ''[[Cambodian music|Cambodian classical music]] (disputed<ref name="Garzoli">Garzoli, John. [http://iftawm.org/journal/oldsite/articles/2015b/Garzoli_AAWM_Vol_4_2.pdf ''The Myth of Equidistance in Thai Tuning.'']</ref>)''
+* ''[[Laotian music|Laotian classical music]] (disputed<ref name="Garzoli" />)''
+* ''[[Thai music|Thai classical music]] (disputed<ref name="Garzoli" />)''
+* ''[[Vietnamese music|Vietnamese classical music]] (disputed<ref name="Garzoli" />)''
+Note that just because a tradition has an equiheptatonic scale doesn’t mean it uses it exclusively. They often have other tunings too. Also, the term “scale” here is used loosely, because many, perhaps the majority, of musical traditions don’t use scales, but use something else like [[tetrachord]]s, [[Indian|raag]], etc. that scales can only loosely model.
-An exactly equal equiheptatonic scale equals [[7edo]], which is popular with modern Western xenharmonic composers.
+An exactly equal equiheptatonic scale equals '''[[7edo]]''', which is popular with modern Western xenharmonic composers.
+== Equiheptatonic scales in edos ==
+All multiple-of-7 [[edo]]s ({{EDOs|7, 14, 21, 28, 35…}}) contain the exactly equal 7edo equiheptatonic scale.
+In most traditions that use them, equiheptatonic scales are slightly unequal and slightly closer to [[just]] (rarely slightly further from, but only by a tiny amount). There are a diverse array of those used in different regions.
+For that reason, it might be more fruitful for composers to explore edos with equiheptatonic scales that share those characteristics. that is, after all, its own diverse array of subtly different equiheptatonic scales.
+Such edos include:
+; 1edo to 40edo
+{{EDOs|26, 29, 33, 36, 38, 40}}
+; 41edo to 60edo
+{{EDOs|43, 45, 47, 50, 52, 54, 57, 59}}
+; 61edo to 80edo
+{{EDOs|61, 64, 66, 68, 71, 73, 75, 78, 80}}
+; 81edo to 100edo
+{{EDOs|82, 85, 86, 87, 89, 92, 93, 94, 96, 99, 100}}
+From the list it can be seen that edos with this type of equiheptatonic scale are often [[runoff]] edos{{idiosyncratic}}, they are often [[dual-fifth]] edos and they often support [[flattone]], [[flattertone]], or a related temperament. None of these things are always true: just true more often than chance.
 == See also ==
 * [[Equipentatonic]]
+* [[African music]]
+* [[5- to 10-tone scales from the modes of the harmonic series#Macrotonal NEJI edos|Macrotonal NEJI edos]]: the 7-tone ones are examples of equiheptatonic scales
+== Notes ==
 [[Category:7-tone scales]][[Category:7edo]][[Category:Traditions]]
+{{Todo|cultural expertise}}