Xenharmonic Wiki

User:Unque/37edo Composition Theory: Difference between revisions

VisualWikitext
Unque (talk | contribs)
280 edits
Created page with "'''Note: This page is currently under construction, and will be subject to major expansion in the near future. Come back soon!''' If it wasn't clear before, I definitely have..."
 
Lériendil (talk | contribs)
8,044 edits
m added category
 
(4 intermediate revisions by 2 users not shown)
Line 1: Line 1:
{{breadcrumb|37edo}}
'''Note: This page is currently under construction, and will be subject to major expansion in the near future. Come back soon!'''
'''Note: This page is currently under construction, and will be subject to major expansion in the near future. Come back soon!'''


Line 9: Line 11:
{| class="wikitable"
{| class="wikitable"
|+
|+
Intervals of 37edo
!Intervals
!Intervals
!Cents
!Cents
Line 25: Line 28:
|1\37
|1\37
|32.43
|32.43
|[[55/54]], [[56/55]]
|[[55/54]]+, [[56/55]]
|
|
|D♭
|D♭
Line 32: Line 35:
|2\37
|2\37
|64.86
|64.86
|[[28/27]]
|[[28/27]]+
|[[Sycamore]]/[[Octaphore#2.3.7 Unicorn|Unicorn]]
|[[Sycamore]]
|Bｷ = E𝄫
|
|
|Sycamore uses diatonic fifth, Unicorn uses antidiatonic fifth
|-
|-
|3\37
|3\37
Line 41: Line 44:
|[[17/16]]
|[[17/16]]
|[[Passion]]
|[[Passion]]
|Cｷ
|Cｷ = F𝄫
|
|
|-
|-
|4\37
|4\37
|129.73
|129.73
|[[14/13]], [[16/15]]
|[[14/13]]
|[[Negri]]
|[[28812/28561#Cubical|Cubical]]
|
|A𝄪 = Dd
|Patent val 7 technically doesn't count as Negri, but it's the same structure
| Cubical uses antidiatonic fifth
|-
|-
|5\37
|5\37
|162.16
|162.16
|[[11/10|10/9]], [[9/8]]-
|[[11/10|10/9]]+, [[9/8]]-
|[[Porcupine]]
|[[Porcupine]]
|B♯
|B♯
|9/8 using antidiatonic fifth
|10/9 using diatonic fifth, or 9/8 using antidiatonic fifth
|-
|-
|6\37
|6\37
|194.59
|194.59
|[[19/17]], 9/8
|10/9, [[19/17]], 9/8
|[[Didacus]]
|[[Didacus]]
|C♯
|C♯
|9/8 using dual fifths
|10/9 = 9/8 using dual fifths
|-
|-
|7\37
|7\37
Line 74: Line 77:
|8\37
|8\37
|259.46
|259.46
|[[15/13]]
|[[15/13]]+
|[[Barbados]]
|[[Barbados]]
|E♭
|E♭
|
|Barbados utilizes split-3 shenanigans
|-
|-
|9\37
|9\37
|291.89
|291.89
|[[13/11]], [[19/16]]
|[[13/11]], [[19/16]]
|
|[[847/845|Cuthbert]]
|
|F♭
|
|
|-
|-
Line 90: Line 93:
|[[77/64]]
|[[77/64]]
|[[Orgone]]
|[[Orgone]]
|Dｷ
|Dｷ = G𝄫
|Not a good 6/5, but 77/64 is rather complex; I just think of it as half of 16/11
|Probably better interpreted as 8/(sqrt11)
|-
|-
|11\37
|11\37
|356.76
|356.76
|[[11/9]], [[16/13]]
|[[11/9]]+, [[16/13]]
|[[Beatles]]
|[[Beatles]]
|
|B𝄪 = Ed
|Bisects the diatonic fifth
|Bisects the diatonic fifth
|-
|-
Line 104: Line 107:
|[[5/4]]
|[[5/4]]
|[[Würschmidt|Wuerschmidt]]
|[[Würschmidt|Wuerschmidt]]
|
|C𝄪 = Fd
|
|
|-
|-
Line 116: Line 119:
|14\37
|14\37
|454.05
|454.05
|[[9/7]], [[13/10]]
|[[9/7]]+, [[13/10]]
|[[Ammonite]]
|[[Ammonite]]
|E
|E
Line 132: Line 135:
|4/3-
|4/3-
|[[Undecimation]]
|[[Undecimation]]
|
|G♭
|Antidiatonic fourth
|Antidiatonic fourth
|-
|-
Line 139: Line 142:
|[[11/8]]
|[[11/8]]
|[[Emka]]
|[[Emka]]
|Eｷ
|Eｷ = A𝄫
|
|
|-
|-
Line 153: Line 156:
|[[10/7]]
|[[10/7]]
|
|
|
|D𝄪 = Gd
|
|
|-
|-
Line 181: Line 184:
|[[20/13]], [[14/9]]
|[[20/13]], [[14/9]]
|Ammonite
|Ammonite
|
|A♭
|
|
|-
|-
Line 188: Line 191:
|[[11/7]]
|[[11/7]]
|Lambeth
|Lambeth
|
|B𝄫
|
|
|-
|-
Line 195: Line 198:
|[[8/5]]
|[[8/5]]
|Wuerschmidt
|Wuerschmidt
|Gｷ
|Gｷ = C𝄫
|
|
|-
|-
Line 202: Line 205:
|[[13/8]], [[18/11]]
|[[13/8]], [[18/11]]
|Beatles
|Beatles
|
|E𝄪 = Ad
|
|
|-
|-
Line 209: Line 212:
|[[128/77]]
|[[128/77]]
|Orgone
|Orgone
|
|F𝄪
|
|Probably better interpreted as (sqrt11)/2
|-
|-
|28\37
|28\37
|908.11
|908.11
|[[32/19]], [[22/13]]
|[[32/19]], [[22/13]]
|
|Cuthbert
|G♯
|G♯
|
|
Line 223: Line 226:
|[[26/15]]
|[[26/15]]
|Barbados
|Barbados
|
|A
|
|
|-
|-
|30\37
| 30\37
|972.97
|972.97
|[[7/4]], [[16/9]]+
|[[7/4]], [[16/9]]+
Line 233: Line 236:
|16/9 using diatonic fourths
|16/9 using diatonic fourths
|-
|-
|31\37
| 31\37
|1005.41
|1005.41
|16/9
|16/9, 10/9
|Didacus
|Didacus
|C♭
|C♭
Line 242: Line 245:
|32\37
|32\37
|1037.84
|1037.84
|16/9-, [[20/11|9/5]]
|16/9-, [[20/11|9/5]]+
|Porcupine
|Porcupine
|
|Aｷ = D𝄫
|16/9 using antidiatonic fourths
|16/9 using antidiatonic fourths
|-
|-
|33\37
|33\37
|1070.27
|1070.27
|[[15/8]], 13/7
|[[13/7]]
|Negri
|Cubical
|Bd
|Bd
|
|
Line 258: Line 261:
|[[32/17]]
|[[32/17]]
|Passion
|Passion
|Cd
|G𝄪 = Cd
|
|
|-
|-
|35\37
|35\37
|1135.14
|1135.14
|[[27/14]]
|[[27/14]]+
|Sycamore/Unicorn
|Sycamore
|
|A♯
|
|
|-
|-
|36\37
|36\37
|1167.57
|1167.57
|[[55/28]], [[108/55]]
|[[55/28]], [[55/27]]+
|
|
|B
|B
Line 282: Line 285:
|
|
|}
|}
===Notation===
The table above uses the Diatonic fifth as the basis for notation, following the standard Circle of Fifths with additional half-flats and half-sharps used to more concisely represent notes that would otherwise require triple or even quadruple flats and sharps.
[[Ups and downs notation|Ups and Downs notation]] is also helpful for short accidentals; in a Blackdye piece that uses the antidiatonic 3/2, it may be helpful to notate that fifth as vG rather than F♯ to better indicate that it is being used as a perfect fifth rather than an augmented fourth.
Additionally, [[Diamond MOS notation]] may be more useful than Circle of Fifths notation for describing structures that do not adhere closely to the Circle of Fifths, such as Orgone or Cubical.
[[Category:Approaches to tuning systems]]
Retrieved from "https://en.xen.wiki/w/User:Unque/37edo_Composition_Theory"