Equipentatonic: Difference between revisions

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They are usually not exactly equally spaced, but deviate from equal by small amounts, usually to improve the tuning of [[3/1]].

Musical traditions that make use of equipentatonic scales include:

Musical traditions that often make use of equipentatonic scales include:

* [[~~Aka~~]] music from ~~Central~~ Africa

* [[Dagarti music|Dagarti]], [[Lobi music|Lobi]] and [[Senufo music|Senufo]] music from West Africa

* Indonesian [[gamelan]] music ([[slendro]] scales)

* Southern [[Ugandan]] ~~music~~

* Southern [[Ugandan music]]

** [[Baganda]] ~~music~~

** [[Baganda music]]

Note that just because a tradition has an equipentatonic scale doesn’t mean it uses it exclusively. Indonesian gamelan for example uses equipentatonic slendro scales, but also far-from-equal [[pelog]] scales 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 equipentatonic scale equals '''[[5edo]]''', which is popular with modern Western xenharmonic composers. [[Sevish]] recommends 5edo as a tuning for those newly exploring beyond [[12edo]].

Many equipentatonic scales can be considered [[omniconsonant scale]]s.

== Equipentatonic scales in edos ==

All multiple-of-5 [[edo]]s ({{EDOs|5, 10, 15, 20, 25…}}) contain the exactly equal 5edo equipentatonic scale.

In most traditions that use them, equipentatonic 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 equipentatonic scales that share those characteristics: that is, after all, its own diverse array of subtly different equipentatonic scales.

Such edos include:

; 1edo to 40edo

; 40edo to 60edo

; 60edo to 80edo

; 80edo to 100edo

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

== See also ==

* [[Equiheptatonic]]

* [[African music]]

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

[[Category:5-tone scales]] [[Category:5edo]] [[Category:Traditions]]

@@ Line 3: / Line 3: @@
 They are usually not exactly equally spaced, but deviate from equal by small amounts, usually to improve the tuning of [[3/1]].
-Musical traditions that make use of equipentatonic scales include:
+Musical traditions that often make use of equipentatonic scales include:
-* [[Aka]] music from Central Africa
+* [[Dagarti music|Dagarti]], [[Lobi music|Lobi]] and [[Senufo music|Senufo]] music from West Africa
 * Indonesian [[gamelan]] music ([[slendro]] scales)
-* Southern [[Ugandan]] music
+* Southern [[Ugandan music]]
-** [[Baganda]] music
+** [[Baganda music]]
 Note that just because a tradition has an equipentatonic scale doesn’t mean it uses it exclusively. Indonesian gamelan for example uses equipentatonic slendro scales, but also far-from-equal [[pelog]] scales 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 equipentatonic scale equals '''[[5edo]]''', which is popular with modern Western xenharmonic composers. [[Sevish]] recommends 5edo as a tuning for those newly exploring beyond [[12edo]].
+Many equipentatonic scales can be considered [[omniconsonant scale]]s.
+== Equipentatonic scales in edos ==
+All multiple-of-5 [[edo]]s ({{EDOs|5, 10, 15, 20, 25…}}) contain the exactly equal 5edo equipentatonic scale.
+In most traditions that use them, equipentatonic 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 equipentatonic scales that share those characteristics: that is, after all, its own diverse array of subtly different equipentatonic scales.
+Such edos include:
+; 1edo to 40edo
+{{EDOs|22, 27, 32, 34, 37, 39}}
+; 40edo to 60edo
+{{EDOs|42, 44, 47, 49, 52, 54, 57, 59}}
+; 60edo to 80edo
+{{EDOs|62, 64, 67, 69, 72, 74, 77, 79}}
+; 80edo to 100edo
+{{EDOs|82, 83, 84, 87, 88, 89, 92, 93, 94, 97, 98, 99}}
+From the list it can be seen that edos with this type of equipentatonic scale are often [[runoff]] edos{{idiosyncratic}}, they are often [[dual-fifth]] edos and they often support [[superpyth]] or a related temperament. None of these things are always true: just  true more often than chance.
 == See also ==
 * [[Equiheptatonic]]
 * [[African music]]
+* [[5- to 10-tone scales from the modes of the harmonic series#Macrotonal NEJI edos|Macrotonal NEJI edos]]: the 5-tone ones are examples of equipentatonic scales
 [[Category:5-tone scales]] [[Category:5edo]] [[Category:Traditions]]
+{{todo|Cultural expertise}}