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| ja = 8平均律
| ja = 8平均律
}}
}}
{{Infobox ET
{{Infobox ET}}
| Prime factorization = 2<sup>3</sup>
{{ED intro}}
| Step size = 150¢
== Theory ==
| Fifth = 5\8 = 750¢
[[File:8edo scale.mp3|thumb|A chromatic 8edo scale on C.]]
| Major 2nd = 2\8 = 300¢
| Minor 2nd = -1\8 = -150¢
| Augmented 1sn = 3\8 = 450¢
}}
{{todo|add introduction}}


=Theory=
=== Approximation to JI ===
{| class="wikitable center-all"
8edo forms an odd and even pitch set of two diminished seventh chords, which when used in combination yield dissonance. The system has been described as a "barbaric" harmonic system, containing no good approximation of harmonics 3, 5, 7, 11, 13, and 17; even so, it does a good job representing the [[just intonation subgroup]]s 2.11/3.13/5, with good intervals of [[13/10]] and an excellent version of [[11/6]]. Stacking the 450-cent interval can result in some semi-consonant chords such as 0-3-6 degrees, although these still are quite dissonant compared to standard root-3rd-P5 triads, which are unavailable in 8edo.
! colspan="2" | <!-- empty cell -->
 
! prime 2
Another way of looking at 8edo is to treat a chord of 0-1-2-3-4 degrees (0-150-300-450-600 cents) as approximating harmonics 10:11:12:13:14 (~0-165-316-454-583 cents), which is not too implausible if you can buy that 12edo is a 5-limit temperament. This interpretation would imply that 121/120, 144/143, 169/168, and hence also 36/35 and 66/65, are tempered out.
! prime 3
 
! prime 5
=== Relationship with the father comma ===
! prime 7
When 8edo is treated as a very inaccurate 5-limit system, it ends up tempering out the [[Father]] comma, [[16/15]]. In fact, it is the largest edo that tempers this comma. What this means is that intervals 16/15 apart in 8edo map to the same note, such as [[4/3]] being mapped to the same note as [[5/4]].
! prime 11
 
! prime 13
Some other odd equivalencies include:
! prime 17
 
! prime 19
'''0-2-5''': which can be seen as a minor triad (10:12:15), a sus2 triad (9:8:12), or a major triad in first inversion (5:6:8).
 
'''0-3-5''': which can be seen as a major triad (4:5:6), a sus4 triad (6:8:9), or a minor chord in second inversion (15:20:24).
 
=== Odd harmonics ===
{{Harmonics in equal|8|intervals=odd}}
 
=== Octave shrinking ===
8edo's approximation of [[JI]] can be improved via [[octave shrinking]]. Compressing 8edo's octave from 1200 [[cent]]s down to 1187 cents gives the tuning called [[29ed12]].
 
Of all prime [[harmonic]]s up to 31, pure-octave 8edo only manages to approximate 2/1 and 19/1 within 15 [[cents]], completely missing all the others.
 
By contrast, 29ed12 approximates 2/1, 11/1, 13/1, 17/1 and 31/1 all within 15 cents.
 
Of all integer harmonics up to 30, pure-octave 8edo approximates the following within 20 cents:
* 2, 4, 8, 16, 19, 27.
 
Of all integer harmonics up to 30, 29ed12 approximates the following within 20 cents:
* 2, 6, 11, 12, 13, 17, 20, 22, 25, 26.
 
This provides 29ed12 with a comparatively larger, more diverse palette of [[consonance]]s than pure-octaves 8edo.
 
The nearest [[zeta peak index]] tunings to 8edo don't have an interval within 20 cents of [[2/1]], making them unrecognisable as stretched or compressed 8edo but instead more like entirely new scales in their own right.
 
=== Subsets and supersets ===
8edo contains [[2edo]] and [[4edo]] as subsets. Among its supersets are [[16edo]], [[24edo]], [[32edo]], ….
 
== Intervals ==
{| class="wikitable"
|-
! rowspan="2" | Steps
! rowspan="2" | Cents
! colspan="3" | JI approximation
!Other
|-
! 2.11/3.13/5.19*
! 2.5/3.11/3.13/5*
! 10:11:12:13:14*
!Patent val ⟨8 13 19]
|-
|-
! rowspan="2" | error
! absolute (¢)
| 0
| 0
| +48.0
| 0
| +63.7
| 1/1
| -68.8
| 1/1
| +48.7
| 1/1
| +59.5
|1/1, 16/15
| +45.0
| +2.5
|-
|-
! [[Relative error|relative]] (%)
| 1
| 0
| 150
| +32
| 12/11
| +42
| 12/11
| -46
| 12/11, 11/10
| +32
|10/9, 25/24
| +40
|-
| +30
| 2
| +2
| 300
| 19/16
| 6/5
| 6/5
|6/5, 9/8
|-
|-
! colspan="2" | [[nearest edomapping]]
| 8
| 5
| 3
| 3
| 6
| 450
| 13/10
| 13/10
| 13/10
|4/3, 5/4
|-
| 4
| 4
| 600
|
|
| 7/5, 10/7
|27/20, 25/18, 36/25
|-
| 5
| 750
| 20/13
| 20/13
| 20/13
|3/2, 8/5
|-
| 6
| 6
| 1
| 900
| 2
| 32/19
| 5/3
| 5/3
|5/3, 16/9
|-
| 7
| 1050
| 11/6
| 11/6
| 20/11, 11/6
|9/5, 48/50
|-
|-
! colspan="2" | [[fifthspan]]
| 8
| 0
| 1200
| +1
| 2/1
| -1
| 2/1
| -2
| 2/1
| +4
|2/1, 15/8
| -2
| -3
| +2
|}
|}
<nowiki />* Allows [[inversion]] by 2/1; other interpretations also possible


8-edo forms an odd and even pitch set of two diminished seventh chords, which when used in combination yield dissonance. The system has been described as a "barbaric" harmonic system; even so, it does a good job representing the [[just intonation subgroup]]s 2.11/3.13/5, with good intervals of [[13/10]] and an excellent version of [[11/6]].
== Notation ==
=== Ups and downs notation ===
8edo can be notated as a subset of 24edo, using [[Ups and downs notation|ups and downs]]. It can also be notated as a subset of 16edo, but this is a less intuitive notation.


Another way of looking at 8-EDO is to treat a chord of 0-1-2-3-4 degrees (0-150-300-450-600 cents) as approximating harmonics 10:11:12:13:14 (~0-165-316-454-583 cents), which is not too implausible if you can buy that 12-EDO is a 5-limit temperament. This interpretation would imply that 121/120, 144/143, 169/168, and hence also 36/35 and 66/65, are tempered out.
{| class="wikitable center-all"
 
=Notation=
 
8-edo can be notated as a subset of 24-edo, using [[Ups_and_Downs_Notation|ups and downs]]. It can also be notated as a subset of 16-edo, but this is a less intuitive notation.
 
{| class="wikitable"
|-
|-
! | Edostep
! Edostep
! | Cents
! [[Cent]]s
!7mus
! colspan="2" | 24edo subset notation<br />([[Enharmonic unisons in ups and downs notation|EUs:]] vvA1 and d2)
! colspan="2" | 24-edo subset notation
! colspan="2" | 16edo subset notation<br />(major narrower than minor)
! colspan="2" | 16-edo subset notation
! colspan="2" | 16edo subset notation<br />(major wider than minor)
! [[3L&nbsp;2s]] notation<br />({{nowrap|J {{=}} 1/1}})
! Audio
|-
|-
| style="text-align:center;" | 0
| 0
| style="text-align:center;" | 0¢
| 0¢
|0
| P1
| style="text-align:center;" | P1
| D
| style="text-align:center;" | D
| P1
| style="text-align:center;" | P1
| D
| style="text-align:center;" | D
| P1
| D
| J
| [[File:0-0 unison.mp3|frameless]]
|-
|-
| style="text-align:center;" | 1
| 1
| style="text-align:center;" | 150
| 150
|192 (C0<sub>16</sub>)
| ~2
| style="text-align:center;" | ~2
| vE
| style="text-align:center;" | vE
| M2
| style="text-align:center;" | M2
| E
| style="text-align:center;" | E
| m2
| E
| K
| [[File:0-150 (8-EDO).mp3|frameless]]
|-
|-
| style="text-align:center;" | 2
| 2
| style="text-align:center;" | 300
| 300
|384 (180<sub>16</sub>)
| m3
| style="text-align:center;" | m3
| F
| style="text-align:center;" | F
| M3
| style="text-align:center;" | M3
| F#
| style="text-align:center;" | F#
| m3
| Fb
| K#, Lb
| [[File:0-300 (12-EDO).mp3|frameless]]
|-
|-
| style="text-align:center;" | 3
| 3
| style="text-align:center;" | 450
| 450
|576 (240<sub>16</sub>)
| ^M3 / v4
| style="text-align:center;" | ^M3 / v4
| ^F# / vG
| style="text-align:center;" | ^F# / vG
| d3 / A4
| style="text-align:center;" | d3 / A4
| Fb / G#
| style="text-align:center;" | Fb / G#
| A3, D4
| F#, Gb
| L
| [[File:0-450 (8-EDO).mp3|frameless]]
|-
|-
| style="text-align:center;" | 4
| 4
| style="text-align:center;" | 600
| 600
|768 (300<sub>16</sub>)
| A4, d5
| style="text-align:center;" | A4 / d5
| G#, Ab
| style="text-align:center;" | G# / Ab
| d4, A5
| style="text-align:center;" | d4 / A5
| Gb, A#
| style="text-align:center;" | Gb / A#
| A4, D5
| G#, Ab
| M
| [[File:0-600 (12-EDO).mp3|frameless]]
|-
|-
| style="text-align:center;" | 5
| 5
| style="text-align:center;" | 750
| 750
|960 (3C0<sub>16</sub>)
| ^5, vm6
| style="text-align:center;" | ^5 / vm6
| ^A, vBb
| style="text-align:center;" | ^A / vBb
| d5, A6
| style="text-align:center;" | d5 / A6
| Ab, B#
| style="text-align:center;" | Ab / B#
| A5, d6
| A#, Bb
| M#, Nb
| [[File:0-750 (8-EDO).mp3|frameless]]
|-
|-
| style="text-align:center;" | 6
| 6
| style="text-align:center;" | 900
| 900
|1152 (480<sub>16</sub>)
| M6
| style="text-align:center;" | M6
| B
| style="text-align:center;" | B
| m6
| style="text-align:center;" | m6
| Bb
| style="text-align:center;" | Bb
| M6
| B#
| N
| [[File:0-900 (12-EDO).mp3|frameless]]
|-
|-
| style="text-align:center;" | 7
| 7
| style="text-align:center;" | 1050
| 1050
|1344 (540<sub>16</sub>)
| ~7
| style="text-align:center;" | ~7
| ^C
| style="text-align:center;" | ^C
| m7
| style="text-align:center;" | m7
| C
| style="text-align:center;" | C
| M7
| C
| N#, Jb
| [[File:0-1050 (8-EDO).mp3|frameless]]
|-
|-
| style="text-align:center;" | 8
| 8
| style="text-align:center;" | 1200
| 1200
|1536 (600<sub>16</sub>)
| P8
| style="text-align:center;" | P8
| D
| style="text-align:center;" | D
| P8
| style="text-align:center;" | P8
| D
| style="text-align:center;" | D
| P8
| D
| J
| [[File:0-1200 octave.mp3|frameless]]
|}
|}


This is a heptatonic notation generated by 5ths (5th meaning 3/2). Alternative notations include pentatonic 5th-generated, octotonic, and heptatonic 2nd-generated.
This is a heptatonic notation generated by 5ths (5th meaning 3/2). Alternative notations include pentatonic 5th-generated, octatonic, and heptatonic 2nd-generated.


'''<u>Pentatonic 5th-generated</u>: D * E G * A C * D'''  (generator = 5\8 = perfect 5thoid)  
'''<u>Pentatonic 5th-generated</u>: D * E G * A C * D'''  (generator = 5\8 = perfect 5thoid)  
Line 164: Line 245:
D - D#/Eb - E - G - G#/Ab - A - C - C#/Db - D
D - D#/Eb - E - G - G#/Ab - A - C - C#/Db - D


P1 - A1/ms3 - Ms3 - P4d - A4d/d5d - P5d - ms7 - Ms7/d8d - P8d  (s = sub-, d = -oid)
P1 - A1/ms3 - Ms3 - P4d - A4d/d5d - P5d - ms7 - Ms7/d8d - P8d  (s = sub-, d = -oid, see [[5edo#Alternative notations|5edo]] notation)


pentatonic genchain of 5ths: ...Cb - Gb - Db - Ab - Eb - C - G - D - A - E - C# - G# - D# - A# - E#...
pentatonic genchain of 5ths: ...Cb - Gb - Db - Ab - Eb - C - G - D - A - E - C# - G# - D# - A# - E#...


pentatonic genchain of 5ths: ...d8d - d5d - ms3 - ms7 - P4d - P1 - P5d - Ms3 - Ms7 - A4d - A1... (s = sub-, d = -oid)
pentatonic genchain of 5ths: ...d8d - d5d - ms3 - ms7 - P4d - P1 - P5d - Ms3 - Ms7 - A4d - A1... (s = sub-, d = -oid)
[[Enharmonic unison]]: ds3


'''<u>Octatonic:</u>''' '''A B C D E F G H A'''  (every interval is a generator)
'''<u>Octatonic:</u>''' '''A B C D E F G H A'''  (every interval is a generator)


P1 - P2 - P3 - P4 - P5 - P6 - P7 - P8 - P9
P1 - P2 - P3 - P4 - P5 - P6 - P7 - P8 - P9
Enharmonic unison: none


'''<u>Heptatonic 2nd-generated</u>: D E F G * A B C D'''  (generator = 1\8 = perfect 2nd = 150¢)
'''<u>Heptatonic 2nd-generated</u>: D E F G * A B C D'''  (generator = 1\8 = perfect 2nd = 150¢)
Line 184: Line 269:
genchain of 2nds: ...A1 - A2 - M3 - M4 - M5 - M6 - P7 - P1 - P2 - m3 - m4 - m5 - m6 - d7 - d8...
genchain of 2nds: ...A1 - A2 - M3 - M4 - M5 - M6 - P7 - P1 - P2 - m3 - m4 - m5 - m6 - d7 - d8...


== Chord Names ==
Enharmonic unison: d2
[[Ups and Downs Notation#Chords and Chord Progressions|Ups and downs]] can name any 8-edo chord. Alterations are always enclosed in parentheses, additions never are. An up, down or mid immediately after the chord root affects the 3rd, 6th, 7th, and/or the 11th (every other note of a stacked-3rds chord 6-1-3-5-7-9-11-13).


8-edo chords are very ambiguous, with many chord homonyms. Even the major and minor triads are homonyms. Chord components usually default to M2, M3, P4, P5, M6, m7, M9, P11 and M13. Thus D7 has a M3, P5 and m7. 8-edo chord names using 24-edo subset names are greatly simplified by using different defaults: ~2, ^M3, v4, ^5, M6, ~7, ~9, v11 and M13. Thus D7 becomes ^M3, ^5 and ~7
===Sagittal notation===
This notation is a subset of the notations for EDOs [[24edo#Sagittal notation|24]], [[48edo#Sagittal notation|48]], and [[72edo#Sagittal notation|72]].
====Evo flavor====
 
<imagemap>
File:8-EDO_Evo_Sagittal.svg
desc none
rect 80 0 300 50 [[Sagittal_notation]]
rect 392 0 552 80 [https://sagittal.org#periodic-table Periodic table of EDOs with sagittal notation]
rect 20 80 392 106 [[24-EDO#Sagittal_notation | 24-EDO notation]]
default [[File:8-EDO_Evo_Sagittal.svg]]
</imagemap>
 
====Revo flavor====
 
<imagemap>
File:8-EDO_Revo_Sagittal.svg
desc none
rect 80 0 300 50 [[Sagittal_notation]]
rect 400 0 560 80 [https://sagittal.org#periodic-table Periodic table of EDOs with sagittal notation]
rect 20 80 400 106 [[24-EDO#Sagittal_notation | 24-EDO notation]]
default [[File:8-EDO_Revo_Sagittal.svg]]
</imagemap>
 
====Evo-SZ flavor====
 
<imagemap>
File:8-EDO_Evo-SZ_Sagittal.svg
desc none
rect 80 0 300 50 [[Sagittal_notation]]
rect 376 0 536 80 [https://sagittal.org#periodic-table Periodic table of EDOs with sagittal notation]
rect 20 80 376 106 [[24-EDO#Sagittal_notation | 24-EDO notation]]
default [[File:8-EDO_Evo-SZ_Sagittal.svg]]
</imagemap>
 
Because it contains no Sagittal symbols, this Evo-SZ Sagittal notation is also a Stein-Zimmerman notation.
 
== Chord names ==
[[Ups and downs notation #Chords and Chord Progressions|Ups and downs]] can name any 8edo chord. Alterations are always enclosed in parentheses, additions never are. An up, down or mid immediately after the chord root affects the 3rd, 6th, 7th, and/or the 11th (every other note of a stacked-3rds chord 6-1-3-5-7-9-11-13).
 
8edo chords are very ambiguous, with many chord homonyms. Even the major and minor triads are [[Chord homonym|homonyms]]. Chord components usually default to M2, M3, P4, P5, M6, m7, M9, P11 and M13. Thus D7 has a M3, P5 and m7. 8-edo chord names using 24edo subset names are greatly simplified by using different defaults: instead of the conventional M2, M3, P4, P5, M6, m7, M9, P11 and M13, we have  ~2, ^M3, v4, ^5, M6, ~7, ~9, v11 and M13. Thus D7 becomes ^M3, ^5 and ~7.


{| class="wikitable"
{| class="wikitable"
|-
|-
! | Chord edosteps
! Chord edosteps
! | Chord notes
! Chord notes
! | Full name
! Full name
! | Abbreviated name
! Abbreviated name
! | Homonyms
! Homonyms
|-
|-
| | 0 – 3 – 5
| 0 – 3 – 5
| | D ^F♯ ^A
| D ^F♯ ^A
| | D^(^5)
| D^(^5)
| | D
| D
| | ^F♯m or vGm
| ^F♯m or vGm
|-
|-
| | 0 – 2 – 5
| 0 – 2 – 5
| | D F ^A
| D F ^A
| | Dm(^5)
| Dm(^5)
| | Dm
| Dm
| | ^A or vB♭
| ^A or vB♭
|-
|-
| | 0 – 3 – 5 – 7
| 0 – 3 – 5 – 7
| | D ^F♯ ^A ^C
| D ^F♯ ^A ^C
| | D^7(^5)
| D^7(^5)
| | D7
| D7
| | ^F♯m♯11 or vGm♯11
| ^F♯m♯11 or vGm♯11
|-
|-
| | 0 – 3 – 5 – 6
| 0 – 3 – 5 – 6
| | D ^F♯ ^A B
| D ^F♯ ^A B
| | D6(^3,^5)
| D6(^3,^5)
| | D6
| D6
| | Bm7 and vG,♯9
| Bm7 and vG,♯9
|-
|-
| | 0 – 2 – 5 – 7
| 0 – 2 – 5 – 7
| | D F ^A ^C
| D F ^A ^C
| | Dm,~7(^5)
| Dm,~7(^5)
| | Dm7
| Dm7
| | F6 and vB♭,♯9
| F6 and vB♭,♯9
|-
|-
| | 0 – 2 – 5 – 6
| 0 – 2 – 5 – 6
| | D F ^A B
| D F ^A B
| | Dm6(^5)
| Dm6(^5)
| | Dm6
| Dm6
| | Bm7(♭5)
| Bm7(♭5)
|-
|-
| | 0 – 2 – 4 – 7
| 0 – 2 – 4 – 7
| | D F A♭ ^C
| D F A♭ ^C
| | Ddim,~7
| Ddim,~7
| | Dm7(♭5)
| Dm7(♭5)
| | Fm6
| Fm6
|}
|}


=JI Intervals=
== Approximation to JI ==
[[File:8ed2-001.svg|alt=alt : Your browser has no SVG support.]]
[[File:8ed2-001.svg]]


[[:File:8ed2-001.svg|8ed2-001.svg]]
== Regular temperament properties ==
=== Uniform maps ===
{{Uniform map|edo=8}}


= Commas =
=== Commas ===
8 EDO [[tempers out]] the following [[comma]]s. This assumes [[val]] {{val| 8 13 19 22 28 30 }}.
8et [[tempering out|tempers out]] the following [[comma]]s. This assumes [[val]] {{val| 8 13 19 22 28 30 }}.


{| class="commatable wikitable center-all left-3 right-5 left-6"
{| class="commatable wikitable center-all left-3 right-4 left-6"
! [[Harmonic limit|Prime<br>Limit]]
! [[Harmonic limit|Prime<br />limit]]
! [[Ratio]]<ref>Ratios longer than 10 digits are presented by placeholders with informative hints</ref>
! [[Ratio]]<ref>Ratios longer than 10 digits are presented by placeholders with informative hints</ref>
! [[Monzo]]
! [[Monzo]]
Line 255: Line 381:
! [[Color name]]
! [[Color name]]
! Name(s)
! Name(s)
|-
| 3
| [[8192/6561]]
| {{monzo| 13 -8 }}
| 384.35
| sawa 4th
| Pythagorean diminished fourth
|-
| 5
| [[16/15]]
| {{monzo| 4 -1 -1 }}
| 111.73
| gu 2nd
| Father comma, classic limma
|-
|-
| 5
| 5
Line 261: Line 401:
| 62.57
| 62.57
| Quadgu
| Quadgu
| Major diesis, diminished comma
| Diminished comma, major diesis
|-
|-
| 5
| 5
Line 268: Line 408:
| 49.17
| 49.17
| Triyo
| Triyo
| Maximal diesis, porcupine comma
| Porcupine comma, maximal diesis
|-
|-
| 5
| 5
Line 275: Line 415:
| 13.40
| 13.40
| Sepgu
| Sepgu
| Medium semicomma, sensipent comma
| Sensipent comma, medium semicomma
|-
|-
| 7
| 7
Line 303: Line 443:
| 5.36
| 5.36
| Sarurutrigu
| Sarurutrigu
| Porwell
| Porwell comma
|-
|-
| 11  
| 11  
Line 345: Line 485:
| 3.03
| 3.03
| Triluyo
| Triluyo
| Wizardharry
| Wizardharry comma
|-
| 13
| [[40/39]]
| {{monzo| 3 -1 1 0 0 -1 }}
| 43.83
| Thuyo unison
| Tridecimal minor diesis
|}
|}
<references/>
<references/>


=Scala scale file=
== Scales ==
For those who use the new tuner Lingot, which accepts scala files, or for anyone else, here is a .scl file of 8 EDO [[:File:08-EDO.scl|08-EDO.scl]]
=== Scala file ===
 
Here is a .scl file of 8edo: [[:File:08-EDO.scl|08-edo.scl]]
0. 1/1 C Unison
 
1. 150.000 cents C# (50 cents sharper than C# of 12 tet) Neutral 2nd
 
2. 300.000 cents D# Minor 3rd (identical to 12-tet)
 
3. 450.000 cents E Sub-4th, Supermajor 3rd (50 cents sharper than E of 12 tet)


4. 600.000 cents F# Tritone (identical to 12-tet)
<pre>
! 08-EDO.scl
!
8 EDO
8
!
150.00
300.00
450.00
600.00
750.00
900.00
1050.00
2/1
</pre>


5. 750.000 cents G Super 5th, Subminor 6th (50 cents sharper than G of 12 tet)
=== Temperaments ===
8edo is fairly composite, so the only step that generates a [[mos]] scale that covers every interval other than the 1 is the 3, producing scales of 332 and [[3L 2s|21212]]. In terms of temperaments, in the 5-limit this is best interpreted as [[father]], as 8edo is the highest edo that tempers out the diatonic semitone in it's [[patent val]], merging 5/4 and 4/3 into a single interval, which is also the generator. This means major and minor chords are rotations of each other, making them inaccurate but very simple, with even the 5 note mos having 3 of both and providing a functional skeleton of 5-limit harmony, albeit with some very strange enharmonic equivalences. In terms of 7-limit extensions things get even more inaccurate, as the patent val supports [[mother]], but the ideal tuning for that is much closer to [[5edo]]. The 8d val supports septimal father and [[pater]], and is much closer to the ideal tuning for both, as the extremely sharp 7 works better with the {{nowrap| 3 & 5 }}. In terms of multi-period temperaments, it makes for a near perfect [[walid]] or a much less accurate [[diminished (temperament)|diminished]] scale.


6. 900.000 cents A Major 6th (identical to 12-tet)
== Instruments ==
A [[Lumatone mapping for 8edo]] is available.


7. 1050.000 cents A# Neutral 7th (50 cents sharper than A# of 12 tet)
== Music ==
; [[Abnormality]]
* [https://www.youtube.com/watch?v=tqgRYQxsA9U ''mushroom''] (2024)


8. 2/1 C Octave
; [[Cenobyte]]
* [[:File:8edo-pre-improv.ogg|8edo-pre-improv]] (2011)
* [[:File:darkreflections(sketch).ogg|darkreflections(sketch)]] (2011)
* [[:File:skiphop(sketch).ogg|skiphop(sketch)]] (2011)
* [[:File:octo-icy-pensive(sketch).ogg|octo-icy-pensive(sketch)]], [[:File:octo-icy-pensive-echo(sketch).ogg|octo-icy-pensive-echo(sketch)]] (2011)


=Compositions=
; [[City of the Asleep]]
[https://soundcloud.com/overtoneshock/tenacious-chorale-9-edo-and-8-edo-live?in=overtoneshock/sets/xenharmonic-microtonal Tenacious Chorale (only movement II is in 8-EDO)] by Stephen Weigel
* [http://ia600607.us.archive.org/3/items/Transcendissonance/10Malebolge-CityOfTheAsleep.mp3 "Malebolge"], from [https://cityoftheasleep.bandcamp.com/album/transcendissonance ''Transcendissonance''] (2011)


''[http://www.h-pi.com/mp3/Fantasia8ET.mp3 Fantasia in 8ET]''{{Dead link}} by Aaron Andrew Hunt
; [[Milan Guštar]]
* [http://www.uvnitr.cz/flaoyg/forgotten_works/spendliky.html ''Špendlíky''] (1988-2005)


''[http://www.h-pi.com/mp3/Fugue8ET.mp3 Fugue in 8ET]''{{Dead link}} by Aaron Andrew Hunt
; [[Hideya]]
* [https://www.youtube.com/watch?v=dxjBt4Umbw4 ''Like yamashiro''] (2021)
* [https://www.youtube.com/watch?v=h75K1KOb5is ''Like Ensor's paintings''] (2023)


[http://www.uvnitr.cz/flaoyg/forgotten_works/spendliky.html Špendlíky] ''[http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Gustar/spendliky.mp3 play]'' by Milan Guštar
; [[Nathan Ho]]
* [https://www.youtube.com/watch?v=DR1SSW-kQqs ''8edo minimal techno in SuperCollider''] (2023)


''[http://www.ronsword.com/sounds/ronsword_8edo_improv.mp3 Acoustic Improvisation in 8-edo]'' by Ron Sword (dead link)
; [[Aaron Andrew Hunt]]
* [https://aaronandrewhunt.bandcamp.com/track/fantasia-fugue-a4-in-8et "Fantasia & Fugue a4 in 8ET"], from [https://aaronandrewhunt.bandcamp.com/album/the-equal-tempered-keyboard ''The Equal-Tempered Keyboard''] (1999-2022)


''[http://micro.soonlabel.com/gene_ward_smith/Others/Winchester/07%20-%207.%208%20octave.mp3 Comets Over Flatland 7]'' by [[Randy_Winchester|Randy Winchester]]
; [[NullPointerException Music]]
* [https://www.youtube.com/watch?v=CryT-HTzrZE "Disorient"], from [https://www.youtube.com/playlist?list=PLg1YtcJbLxnwTJkG4m0BWZWxIHj7ScdNn ''Edolian''] (2020)
* [https://www.youtube.com/watch?v=AErBW21bljk ''Towards Dissolution''] (2020)


''[http://ia600607.us.archive.org/3/items/Transcendissonance/10Malebolge-CityOfTheAsleep.mp3 Malebolge]'' Alison Jones
; [[User:Phanomium|Phanomium]]
* [https://www.youtube.com/watch?v=22OKO6e6nGk ''Octahedron''] (2024)


''[http://www.youtube.com/watch?v=0mpDeL7iybI News To Me]'' Jake Sherman
; [[Carlo Serafini]]
* ''FunkEight 1'' (2013) – [http://www.seraph.it/blog_files/86557ece0348a8d042346d5e1b13e2d9-166.html blog] | [http://www.seraph.it/dep/det/FunkEight1.mp3 play]


''[http://www.youtube.com/watch?v=HvDEoZ4LIdc Tomorrow Night (pop music from 2045)]'' Jake Sherman
; [[Sevish]]
* [https://youtu.be/1fpYEVEdcaE ''Reckoner''] (2025)


''[http://www.seraph.it/dep/det/FunkEight1.mp3 FunkEight 1]'' by [[Carlo_Serafini|Carlo Serafini]] ([http://www.seraph.it/blog_files/86557ece0348a8d042346d5e1b13e2d9-166.html blog entry])
; [[Jake Sherman]]
* [https://www.youtube.com/watch?v=0mpDeL7iybI ''News To Me''] (2011)
* [https://www.youtube.com/watch?v=HvDEoZ4LIdc ''Tomorrow Night (pop music from 2045)''] (2011)


[[:File:8edo-pre-improv.ogg|8edo-pre-improv.ogg]]Preliminary noodling in 8 EDO with ZynAddSubFX synth.(by Cenobyte)
; [[Ron Sword]]
* [http://www.ronsword.com/sounds/ronsword_8edo_improv.mp3 ''Acoustic Improvisation in 8EDO'']{{dead link}}


[[:File:darkreflections(sketch).ogg|darkreflections(sketch).ogg]]8EDO Ukulele (cenobyte)
; [[Stephen Weigel]]
* [https://soundcloud.com/overtoneshock/tenacious-chorale-9-edo-and-8-edo-live ''Tenacious Chorale'': Movement 2] (2016)


[[:File:skiphop(sketch).ogg|skiphop(sketch).ogg]]8EDO Ukulele (cenobyte)
; [[Randy Winchester]]
* [https://archive.org/details/jamendo-005173/07.mp3 "7. 8 / octave"], from ''[[Comets Over Flatland]]'' (2007)


[[:File:octo-icy-pensive(sketch).ogg|octo-icy-pensive(sketch).ogg]] [[:File:octo-icy-pensive-echo(sketch).ogg|octo-icy-pensive-echo(sketch).ogg]]2 versions of the same song, one with echo, one without. (cenobyte)
; [[User:Fitzgerald_Lee|Fitzgerald Lee]]
* [https://youtu.be/zwRDfjLzXkU Jonky Jazz] (2025)


=Ear Training=
== Ear training ==
8 EDO ear-training exercises by Alex Ness available [https://drive.google.com/a/playgroundsessions.com/folderview?id=0BwsXD8q2VCYUamtVWEgyRFA5alU&usp=sharing#list here].
8edo ear-training exercises by Alex Ness available [https://drive.google.com/a/playgroundsessions.com/folderview?id=0BwsXD8q2VCYUamtVWEgyRFA5alU&usp=sharing#list here].


=See also=
== See also ==
*[[Octatonic_scale|Octatonic scale]] - a scale based on alternating whole and half steps
* [[Octatonic scale]] - a scale based on alternating whole and half steps
* [[Fendo family]] - temperaments closely related to 8edo


[[Category:8-tone]]
[[Category:8-tone scales]]
[[Category:8edo]]
[[Category:Listen]]
[[Category:aaron_andrew_hunt]]
[[Category:Equal divisions of the octave]]
[[Category:listen]]
[[Category:macrotonal]]
[[Category:milan_guštar]]
[[Category:ron_sword]]
[[Category:scale]]
[[Category:todo:unify_precision]]
Retrieved from "https://en.xen.wiki/w/8edo"