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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.  
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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.   
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|medials]] of a fifth with a latitude of ~25 degrees 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 ==
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[[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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|19: 253c
|19: 253c
|19: 442c
|19: 442c
|Same intervals are shared with 22edf, so it is grouped here. 19edo saj and sin thirds. 18edo fendo.
|Same intervals are shared with 22edf, so it is grouped here. 19edo saj and sin thirds. 18edo fendo. 37edo diatonic.
|-
|-
|'''14'''
|'''14'''
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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.
Retrieved from "https://en.xen.wiki/w/Extraclassical_tonality"