Exotemperament: Difference between revisions
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CompactStar (talk | contribs) Added Mavila as I think it is quite important. Also, I am putting it in the "subjective" category because I do think there are some cases where the fifth can sound plausible. |
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An '''exotemperament''' or '''macrotemperament''' is a very inaccurate [[regular temperament]], or in other words, one which [[tempering out|tempers out]] an interval that is very large and low-[[complexity]] or otherwise equates wildly different intervals. | An '''exotemperament''' or '''macrotemperament''' is a very inaccurate [[regular temperament]], or in other words, one which [[tempering out|tempers out]] an interval that is very large and low-[[complexity]] or otherwise equates wildly different intervals. | ||
Notable examples of exotemperaments are [[father]] (tempers out [[16/15]], ≈111.7{{c}}), [[trienstonic clan|trienstonian]] (tempers out [[28/27]], ≈63.0{{c}}), and [[dicot family|dicot]] (tempers out [[25/24]], ≈70.7{{c}}). Depending on both who you ask and the specific tunings, timbres and chords used, others such as [[mint temperaments|mint]] (tempers out ([[6/5]])/([[7/6]]) = [[36/35]], ≈48.8{{c}}) | Notable examples of exotemperaments are [[father]] (tempers out [[16/15]], ≈111.7{{c}}), [[trienstonic clan|trienstonian]] (tempers out [[28/27]], ≈63.0{{c}}), and [[dicot family|dicot]] (tempers out [[25/24]], ≈70.7{{c}}). Depending on both who you ask and the specific tunings, timbres and chords used, others such as [[mint temperaments|mint]] (tempers out ([[6/5]])/([[7/6]]) = [[36/35]], ≈48.8{{c}}), [[semaphore]] (tempers out ([[7/6]])/([[8/7]]) = [[49/48]], ≈35.7{{c}), and [[mavila]] (tempers out ([[5/4]])/([[32/27]]) = 135/128, ≈92.2{{c}}) could also be considered exotemperaments within their respective limits or subgroups. | ||
To get one's head around music in exotemperaments, one needs to be less critical about what they hear and turn their attention to rough melodic and impressionistic categories instead. | To get one's head around music in exotemperaments, one needs to be less critical about what they hear and turn their attention to rough melodic and impressionistic categories instead. | ||