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The '''[[arto and tendo]]''' or '''extraclassical tonality system''' is a tonality system built from ultramajor (called "tendo") and inframinor (called "arto") triads. Because these chords share many of the same properties as major and minor triads, the extraclassical harmonic system resembles the conventional diatonic system in many ways, however, it also has many distinct characteristics that make it sound nothing like normal major and minor chords.  
'''A[[arto and tendo|rto and tendo]]''' or '''extraclassical tonality''' refers to tonality that uses ultramajor (or "tendo") and inframinor (or "arto") triads. Because these chords share many of the same properties as major and minor triads, the extraclassical harmonic system resembles the conventional diatonic system in many ways, however, it also has many distinct characteristics that make it sound nothing like normal major and minor chords.  


The name "extraclassical" derives from the mediants' position outside the range of the classical and standard diatonic mediants.  
The name "extraclassical" derives from the mediants' position outside the range of the classical and standard diatonic mediants.  


== Arto and tendo triads ==
== Arto and tendo triads ==
Arto and tendo triads are the same shape as minor and major triads, but with a more extreme difference between the thirds. This can be characterized in terms of [[Mediant (tonality)|mediants]], where the contrastiveness of the arto and tendo mediants is higher than that of minor and major.   
Arto and tendo triads are the same shape as minor and major triads, but with a more extreme difference between the thirds. This can be characterized in terms of interval [[latitude]] with respect to the perfect fifth, wherein arto and tendo have latitudes more extreme than major and minor.   


An arto triad results by flatting the third of a minor triad by approximately one [[quarter tone]], producing an inframinor third of ~250{{cent}}.   
An arto triad results by flatting the third of a minor triad by approximately one [[quarter tone]], producing an inframinor third of about 235–255{{cent}}.   


A tendo triad results by sharping the third in a major triad by approximately one quarter tone, producing an ultramajor third of ~450{{cent}}.  
A tendo triad results by sharping the third in a major triad by approximately one quarter tone, producing an ultramajor third of about 445–465{{cent}}.  


The tendo chord is considered to be more consonant than the arto chord, just as the major chord is considered more consonant (if only slightly) than the minor chord. Also, both chords are only slightly more dissonant than the normal major and minor chords.   
The tendo chord is considered to be more consonant than the arto chord, just as the major chord is considered more consonant (if only slightly) than the minor chord. Also, both chords are only slightly more dissonant than the normal major and minor chords.   


More generally, [[User:VectorGraphics/The spectrum of mediants|mediants]] of a fifth with a contrastiveness of 25–30% may be considered arto and tendo thirds.   
More generally, [[User:VectorGraphics/The spectrum of mediants|medials]] of a fifth with a latitude of ~25–30 degrees may be considered arto and tendo thirds, where the outer bound (and one of the most common tunings) is [[3edf]], corresponding to slendric.   


== Notation ==
== Notation ==
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This creates an interesting, subtle ambiguous flavor, but what's even more interesting is that the two triads still sound distinct enough to be considered separate and being played together causes a lack of resolution. This also generates the possibility that both arto and tendo chords can be used in a progression on the same root without going outside of the scale. Likewise, a melody on a tendo chord can play notes of the arto chord of the same root.
This creates an interesting, subtle ambiguous flavor, but what's even more interesting is that the two triads still sound distinct enough to be considered separate and being played together causes a lack of resolution. This also generates the possibility that both arto and tendo chords can be used in a progression on the same root without going outside of the scale. Likewise, a melody on a tendo chord can play notes of the arto chord of the same root.
This property of arto and tendo chords is a major contributing factor to the "omniconsonant" property of [[5edo]].


== Use cases ==
== Use cases ==
In [[16edo]], and especially in [[7L 2s|armotonic]], arto and tendo chords may be used by using the minor 2-mosstep and major 3-mosstep in chords. These are intervals of 225 and 450{{c}}, and also serve as simple [[slendric]] intervals. Indeed, playing the chord with both arto and tendo intervals results in the same chord as stacking 3 slendric generators.
In [[16edo]], and especially in [[7L 2s|armotonic]], arto and tendo chords may be used by using the minor 2-mosstep and major 3-mosstep in chords. These are intervals of 225 and 450{{c}}, and also serve as simple [[slendric]] intervals. Indeed, playing the chord with both arto and tendo intervals results in the same chord as stacking 3 slendric generators.


In diatonic edos sharper than [[27edo]], the native diatonic major and minor triads are, in fact, arto and tendo; the chromatic scale [[5L 7s]] makes for a good MOS to allow arto/tendo cross-tonality in these systems.   
In diatonic edos sharper than, and even in, [[22edo]], the native diatonic major and minor triads begin to border on arto and tendo; the chromatic scale [[5L 7s]] makes for a good MOS to allow arto/tendo cross-tonality in these systems.   


[[24edo]] allows both arto/tendo and minor/major chords to be used.   
[[24edo]] allows both arto/tendo and minor/major chords to be used.   
Arto and tendo scales are difficult because the tendo third has to be on the same note as a fourth, and those are two very similar notes. As such, arto and tendo tonality is best used in scales with sharper fourths (and thus, flat fifths). 21edo provides reasonable tunings of these chords that can be used to build a scale, so does 16edo. 
Alternatively, one can temper the arto and tendo thirds together with the major second and fourth respectively. A JI interpretation of this, assuming the canonical JI tunings of the thirds, is [[fendo]] temperament. 15edo does this. 


== Tunings ==
== Tunings ==
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* In slendric systems, especially those with a flat fifth such as 16edo, the arto and tendo thirds may be widened to 1\3edf and 2\3edf.
* In slendric systems, especially those with a flat fifth such as 16edo, the arto and tendo thirds may be widened to 1\3edf and 2\3edf.
** The chord produced by playing the arto and tendo thirds together is actually just the first few slendric generator steps.
** The chord produced by playing the arto and tendo thirds together is actually just the first few slendric generator steps.
* Any pair of [[List of root-3rd-P5 triads in JI|JI mediants]] with a contrastiveness about 25–30%.  
* In a [[fendo]] system such as 13edo, the JI ratios for the arto and tendo thirds are equated with the suspended mediants of 9/8 and 4/3, meaning that suspended chords and arto/tendo chords
* In blackwood systems, the suspended and slendric chords (and hence a possible tuning of the extraclassical chords) are the same thing.
* Any pair of [[List of root-3rd-P5 triads in JI|JI medials]] with a latitude around ±25 degrees.
* In terms of [[fractional monzo]]s, the arto and tendo thirds may be tuned as {{nowrap|1\2edf ± 1\2ed(9/8)}}.
* In terms of [[fractional monzo]]s, the arto and tendo thirds may be tuned as {{nowrap|1\2edf ± 1\2ed(9/8)}}.
* In a [[fendo]] system such as 13edo, the JI ratios for the arto and tendo thirds are equated with the suspended mediants of 9/8 and 4/3, meaning that suspended chords and arto/tendo chords
The following table lists EDFs up to 31 (and corresponding EDOs up to 53) that have arto and tendo thirds (which are defined broadly as a latitude of 22.5 to 30 degrees, which is moderately extended from the "canonical" arto and tendo latitude range of 24 to 28 degrees).
 
{| class="wikitable"
|+
!Fifth
!Edos
!Arto third
!Tendo third
!Notes
|-
|3
|5, 10, 15, 16, 20, 21, 25, 26, 30, 31, 36
|5: 240c
|5: 480c
|Widest range; corresponds to slendric. Diatonic thirds in multiples of 5edo. Same intervals are shared with multiples of 3edf up to 21, so they are grouped here. 5edo fendo. (8edo's thirds aren't here cuz they're technically neogothic!)
|-
|'''8'''
|13, 14, 27, 28
|14: 257c
13: 277c
|14: 428c
13: 462c
|Narrowest range, 13edo fendo. Same intervals are shared with 16edf, so it is grouped here. Diatonic thirds found in 27edo.
|-
|'''11'''
|18, 19, 37, 38
|19: 253c
|19: 442c
|Same intervals are shared with 22edf, so it is grouped here. 19edo saj and sin thirds. 18edo fendo. 37edo diatonic.
|-
|'''14'''
|24, 47*, 48
|24: 250c
|24: 450c
|Same intervals are shared with 28edf, so it is grouped here.
|-
|17
|29
|29: 248c
|29: 455c
|29edo saj and sin thirds.
|-
|'''19'''
|32, 33
|32: 263c
33: 254c
|32: 450c
33: 436c
|32edo diatonic.
|-
|20
|34, 35
|34: 247c
|34: 459c
|
|-
|23
|39, 40
|39: 246c
|39: 462c
|
|-
|24
|41
|41: 234c, 263c
|41: 439c, 468c
|Intersection of the 3 and 8 categories; first tuning with 2 pairs. Slendric in 41edo. 41edo saj and sin chords.
|-
|'''25'''
|42, 43
|43: 251c
|43: 447c
|
|-
|26
|44, 45
|44: 245c
45: 240c
|44: 464c
45: 453c
|
|-
|27
|46, 47
|46: 235c, 261c
47: 230c, 255c
|46: 444c, 470c
47: 434c, 460c
|Slendric in 46 and 47edo, 47edo sharp fifth generates both thirds in arto/tendo range
|-
|29
|49, 50
|50: 240c
|50: 456c
|
|-
|30
|51, 52
|51: 235c, 259c
|51: 447c, 470c
|Slendric in 51 and 52edo.
|-
|31
|53
|53: 249c
|53: 453c
|Very close to 13-limit intervals
|}
[[Category:19edo]]
[[Category:19edo]]
[[Category:24edo]]
[[Category:24edo]]
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[[Category:Tonality]]
[[Category:Tonality]]
[[Category:Fendo]]
[[Category:Fendo]]
== Arto and tendo as interval qualities ==
By utilizing the logic of 24edo, "arto" and "tendo" can be generalized to interval qualities that follow interval arithmetic, corresponding to semi-diminished and semi-augmented, which are closer to their definition as interval regions in diatonic scales close to Pythagorean; in meantone tunings, these tend to correspond to supermajor and subminor.
For a diatonic edo to have arto and tendo intervals by this definition, its chroma must be an even number of edosteps.
{| class="wikitable"
|+
!Interval
!24edo
!31edo
!17edo
!41edo
|-
|Tendo unison
|50c
|39c
|71c
|59c
|-
|Arto second
|50c
|77c
|0c
|29c
|-
|Tendo second
|250c
|232c
|282c
|263c
|-
|Arto third
|250c
|271c
|212c
|234c
|-
|Tendo third
|450c
|426c
|494c
|468c
|-
|Arto fourth
|450c
|465c
|424c
|439c
|-
|Tendo fourth
|550c
|541c
|565c
|556c
|-
|Arto fifth
|650c
|659c
|635c
|654c
|-
|Tendo fifth
|750c
|735c
|776c
|761c
|-
|Arto sixth
|750c
|774c
|706c
|732c
|-
|Tendo sixth
|950c
|929c
|988c
|966c
|-
|Arto seventh
|950c
|968c
|918c
|937c
|-
|Tendo seventh
|1150c
|1123c
|1200c
|1171c
|-
|Arto octave
|1150c
|1161c
|1129c
|1141c
|}
In just intonation, the "arto" and "tendo" labels may be used for the diesis 416/405, which relates the Pythagorean and arto/tendo thirds in just intonation.
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