Ed8/3: Difference between revisions
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Division of 8/3 into equal parts does not necessarily imply directly using this interval as an [[equivalence]]. Many, though not all, ed8/3 scales have a perceptually important [[Pseudo-octave|false octave]], with various degrees of accuracy. | Division of 8/3 into equal parts does not necessarily imply directly using this interval as an [[equivalence]]. Many, though not all, ed8/3 scales have a perceptually important [[Pseudo-octave|false octave]], with various degrees of accuracy. | ||
The eleventh is the highest [[period]] where composers do not need to go beyond the false octave just to have a reasonably complete chordal harmony. The structural utility of 8/3 or another eleventh as a period may be undermined, though, by the fact that 8/3 is the | The eleventh is the highest [[period]] where composers do not need to go beyond the false octave just to have a reasonably complete chordal harmony. The structural utility of 8/3 or another eleventh as a period may be undermined, though, by the fact that 8/3 is the {{w|avoid note}} in a major modality. This matters less in Mixolydian than it does in Ionian given that the former is the natural dominant scale anyway. | ||
One approach to ed8/3 tunings is the use of the 3:4:5:6:(8) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in [[meantone]]. | One approach to ed8/3 tunings is the use of the 3:4:5:6:(8) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in [[meantone]]. | ||
== | == Joseph Ruhf's approach == | ||
{{idiosyncratic terms}} | {{idiosyncratic terms}} | ||
Whereas in meantone it takes four [[3/2]] to get to [[5/1]], here it takes twelve octaves to get to [[134217718/98415]] (tempering out the schisma). So, doing this yields 7-, 10- and 17- or 13-, 16- or 19-note [[mos scale]]s. While the notes are rather farther apart, the scheme is uncannily similar to the [[mohajira]] (within 8/3) temperaments. [[Joseph Ruhf]] calls this the ''Macromohajira Bolivarian mode''. | Whereas in meantone it takes four [[3/2]] to get to [[5/1]], here it takes twelve octaves to get to [[134217718/98415]] (tempering out the schisma). So, doing this yields 7-, 10- and 17- or 13-, 16- or 19-note [[mos scale]]s. While the notes are rather farther apart, the scheme is uncannily similar to the [[mohajira]] (within 8/3) temperaments. [[Joseph Ruhf]] calls this the ''Macromohajira Bolivarian mode''. | ||
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* Perfect Ionian through Pluperfect/Abundant Phrygian[9i]: Montréal | * Perfect Ionian through Pluperfect/Abundant Phrygian[9i]: Montréal | ||
[[Category:Ed8/3| ]] <!-- main article --> | [[Category:Ed8/3's| ]] | ||
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[[Category:Lists of scales]] | [[Category:Lists of scales]] | ||
{{todo|inline=1| | {{todo|inline=1|cleanup|explain edonoi|text=Most people do not think 8/3 sounds like an equivalence, so there must be some other reason why people are dividing it — some property ''other than'' equivalence that makes people want to divide it. Please add to this page an explanation of what that reason is... The page also needs a general overall cleanup.}} | ||
Latest revision as of 19:39, 1 August 2025
The equal division of 8/3 (ed8/3) is a tuning obtained by dividing the Pythagorean perfect eleventh (8/3) in a certain number of equal steps.
Equivalence
Division of 8/3 into equal parts does not necessarily imply directly using this interval as an equivalence. Many, though not all, ed8/3 scales have a perceptually important false octave, with various degrees of accuracy.
The eleventh is the highest period where composers do not need to go beyond the false octave just to have a reasonably complete chordal harmony. The structural utility of 8/3 or another eleventh as a period may be undermined, though, by the fact that 8/3 is the avoid note in a major modality. This matters less in Mixolydian than it does in Ionian given that the former is the natural dominant scale anyway.
One approach to ed8/3 tunings is the use of the 3:4:5:6:(8) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone.
Joseph Ruhf's approach
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This article or section contains multiple idiosyncratic terms. Such terms are used by only a few people and are not regularly used within the community. |
Whereas in meantone it takes four 3/2 to get to 5/1, here it takes twelve octaves to get to 134217718/98415 (tempering out the schisma). So, doing this yields 7-, 10- and 17- or 13-, 16- or 19-note mos scales. While the notes are rather farther apart, the scheme is uncannily similar to the mohajira (within 8/3) temperaments. Joseph Ruhf calls this the Macromohajira Bolivarian mode.
Temperament areas
Galveston Bay Temperament Area
- 2L 8s and 8L 2s, 5L 5s - Galveston Symmetric, Pentachordal Major, Macro-Blackwood
- 4L 6s and 6L 4s - Baytown
- 3L 7s and 7L 3s - Bolivar
The similar decatonic scales in edIXs and edXs belong to the Chesapeake Bay Temperament Area:
- Double Neapolitan[10i]: Scala Mariae/Notre Dame
- Neapolitan/Middletown Valley Dorian[10i]: Annapolis
- Middletown Valley Mixolydian[10i]: Oriole
- Other similar decatonic ± 1 scales have the following names:
- Locrian and Pluperfect/Abundant Phrygian[10i]/Lydian and Perfect Ionian[11i]: Scala Francisci
- Perfect Ionian through Pluperfect/Abundant Phrygian[9i]: Montréal
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Todo: cleanup , explain edonoi Most people do not think 8/3 sounds like an equivalence, so there must be some other reason why people are dividing it — some property other than equivalence that makes people want to divide it. Please add to this page an explanation of what that reason is... The page also needs a general overall cleanup. |