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{{interwiki
{{interwiki
| de = 19-EDO
| de = 19-EDO
| en = 19-EDO
| en = 19edo
| es =  
| es = 19 EDO
| ja = 19平均律
| ja = 19平均律
}}
}}
{{Infobox ET
{{Infobox ET}}
| Prime factorization = 19 (prime)
{{Wikipedia|19 equal temperament}}
| Step size = 63.1579¢
{{ED intro}}
| Fifth = 11\19 (694.7¢)
 
| Major 2nd = 3\19 (189.5¢)
== History ==
| Semitones = 1:2 (63.2¢ : 126.3¢)
Interest in this tuning system goes back to the sixteenth century, when composer Guillaume Costeley used it in his chanson [[Seigneur Dieu ta pitié]] of 1558. Costeley understood and desired the circulating aspect of this tuning, which he defined as dividing the just major second into three approximately equal parts. Costeley had other compositions that made use of intervals, such as the diminished third, which have a meaningful context in 19edo, but not in other tuning systems contemporary with the work.
| Consistency = 9
}}


'''19 equal divisions of the octave''' ('''19edo'''), or '''19(-tone) equal temperament''' ('''19tet''', '''19et''') when viewed from a [[regular temperament]] perspective, is the tuning system derived by dividing the [[octave]] into 19 [[equal]]ly large steps. Each step represents a frequency ratio of the 19th root of 2, or about 63.2 [[cent]]s.  
In 1577, music theorist Francisco de Salinas proposed [[1/3-comma meantone]], in which the fifth is 694.786{{c}}; the fifth of 19edo is 694.737{{c}}, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which comes within less than one cent of closing exactly, so that his suggestion is effectively 19edo.
 
In 1835, mathematician and music theorist Wesley Woolhouse proposed it as a more practical alternative to meantone tunings he regarded as better, such as [[50edo|50 equal temperament]] ([http://www.tonalsoft.com/sonic-arts/monzo/woolhouse/essay.htm summary of Woolhouse's essay]).


== Theory ==
== Theory ==
=== History ===
19edo is the second edo, after [[12edo]], which is able to approximate [[5-limit]] intervals and chords with tolerable accuracy (unless you count [[15edo]], which has a 18-[[cent]]-sharp fifth). Having an almost just minor third and perfect fifths and major thirds about 7 cents flat, it serves as a good tuning for [[meantone]]. Unlike 12edo, where [[enharmonic]] notes are conflated, 19edo distinguishes them, and differs from [[17edo]] in that its [[diatonic semitone]] is wider than the [[chromatic semitone]], rather than narrower. In fact, it is nearly identical to the enharmonic scale of [[1/3-comma meantone]], and can be considered a closed form thereof.  
Interest in this tuning system goes back to the sixteenth century, when composer Guillaume Costeley used it in his chanson [[Seigneur Dieu ta pitié]] of 1558. Costeley understood and desired the circulating aspect of this tuning, which he defined as dividing the just major second into three approximately equal parts. Costeley had other compositions that made use of intervals, such as the diminished third, which have a meaningful context in 19edo, but not in other tuning systems contemporary with the work.


In 1577 music theorist Francisco de Salinas proposed [[1/3-comma meantone]], in which the fifth is of size 694.786 cents; the fifth of 19edo is 694.737, which is only a twentieth of a cent flatter. Salinas suggested tuning nineteen tones to the octave to this tuning, which fails to close by less than a cent, so that his suggestion is effectively 19edo.  
It is less successful in the [[7-limit]] as it conflates the septimal subminor third ([[7/6]]) with the septimal whole tone ([[8/7]]), but it is still better than 12edo overall.  


In 1835, mathematician and music theorist Wesley Woolhouse proposed it as a more practical alternative to meantone tunings he regarded as better, such as [[50edo|50 equal temperament]] ([http://www.tonalsoft.com/sonic-arts/monzo/woolhouse/essay.htm summary of Woolhouse's essay]).
=== Prime harmonics ===
{{Harmonics in equal|19|columns=12}}


=== As an approximation of other temperaments ===
=== As an approximation of other temperaments ===
The most salient characteristic of 19et is that, having an almost just minor third and perfect fifths and major thirds about seven cents narrow, it serves as a good tuning for [[meantone]] temperament. It is also suitable for [[magic|magic/muggles]] temperament, because five of its major thirds are equivalent to one of its ''twelfths''. For all of these there are more optimal tunings: the fifth of 19et is flatter than the usual for meantone, and a more accurate approximation is [[31edo|31 equal temperament]]. Similarly, the generating interval of magic temperament is a major third, and again 19edo's is flatter; [[41edo|41 equal temperament]] more closely matches it. It does make for a good tuning for muggles, which in 19edo is the same as magic. 19edo's 7-step supermajor third can be used for [[sensi]], whose generator is a very sharp major third, two of which make an approximate 5/3 minor sixth, though [[27edo]] and [[46edo]] are better sensi tunings for the 13-limit approximations of sensi.
Besides meantone, 19edo is also suitable for [[magic]]/[[muggles]] temperament, because five of its major thirds are equivalent to one of its twelfths. Its 7-step supermajor third can be used for [[sensi]], whose generator is a very sharp major third, two of which make an approximate 5/3 major sixth.
 
For all of these there are more optimal tunings: the fifth of 19edo is flatter than the usual for meantone, and [[31edo]] is more optimal. Similarly, the generating interval of magic temperament is a major third, and again 19edo's is flatter; [[41edo]] more closely matches it. It does make for a good tuning for muggles, but in 19edo it is the same as magic. Finally, 19edo can be used as a tuning for sensi, though [[46edo]] provides a better sensi tuning.
 
However, for all of these 19edo has the practical advantage of requiring fewer pitches, which makes it easier to implement in physical instruments, and many 19edo instruments have been built. 19edo also has the advantage of being excellent for [[negri]], [[keemun]], [[godzilla]], muggles, and [[triton]]/[[liese]]. Keemun and negri are of particular note for being very simple 7-limit temperaments, with their [[mos scale]]s in 19edo offering a great abundance of septimal tetrads. The [[Graham complexity]] of the [[4:5:6:7|7-odd-limit tetrad]] is 6 for keemun, 7 for negri, 8 for godzilla, 10 for meantone, 11 for triton, 12 for magic/muggles, and 13 for sensi.
 
=== As a means of extending harmony ===
Because 19edo's 5-limit chords are more blended and concordant than those of 12edo, it can be a much better candidate for using alternate forms of harmony such as quartal, secundal, and poly chords. [[William Lynch]] suggests the use of seventh chords of various types to be the fundamental sonorities with a triad deemed as incomplete. Higher extensions involving the 7th harmonic as well as other non-diatonic chord extensions which tend to clash in 12edo blend much better in 19edo.


However, for all of these 19et has the practical advantage of requiring fewer pitches, which makes physical realizations of it easier to build. (Many 19et instruments have been built.) 19et is in fact the second equal temperament, after 12et which is able to deal with [[5-limit]] music in a tolerable manner, and is the fifth (after 12) [[The Riemann Zeta Function and Tuning #Zeta EDO lists|zeta integral edo]]. It is less successful with [[7-limit]] (but still better than 12et), as it eliminates the distinction between a septimal minor third ([[7/6]]), and a septimal whole tone ([[8/7]]). 19edo also has the advantage of being excellent for negri, keemun, godzilla, magic/muggles and triton/liese, and fairly decent for sensi. Keemun and negri are of particular note for being very simple 7-limit temperaments, with their [[mos scale]]s in 19edo offering a great abundance of septimal tetrads. The [[Graham complexity]] of a 7-limit tetrad is 6 for keemun, 7 for negri, 8 for godzilla, 10 for meantone, 11 for triton, 12 for magic/muggles and 13 for sensi.
In addition, [[Joseph Yasser]] talks about the idea of a 12-tone supra-diatonic scale where the 7-tone major scale in 19edo becomes akin to the pentatonic of western music; as it would sound to a future generation, ambiguous and not tonally fortified. As paraphrased "A system in which the undeniable laws of tonal gravity exist, yet in a much more complex tonal universe." Yasser believed that music would eventually move to a 19-tone system with a 12-note supra-diatonic scale would become the standard. While this has yet to happen, Yasser's concept of supra-diatonicity is intriguing and worth exploring for those wanting to extend tonality without sounding too alien.


Being a zeta integral tuning, the 13-limit is represented relatively well, though only the 2.3.5.7.13 subgroup is represented [[consistent]]ly. Practically 19edo can be used ''adaptively'' on instruments which allow you to bend notes up: by different amounts, the 3rd, 5th, 7th and 13th harmonics are all tuned flat. The same cannot be said of 12edo, in which the 5th and 7th are - not only farther than they are in 19, but fairly sharp already. 19edo's [[negri]], [[sensi]] and [[semaphore]] scales have many 13-limit chords. (You can think of the sensi[8] [[3L 5s]] mos scale as 19edo's answer to the diminished scale. Both are made of two diminished seventh chords, but sensi[8] gives you additional ratios of 7 and 13.)
19edo also closely approximates most of the intervals of [[Bozuji tuning]], a 21st century tuning based on Gioseffo Zarlino's approach to just intonation. with most of the adjacent diatonic diminished and augmented intervals of Bozuji tuning represented enharmonically by one interval in 19edo.


Another option would be to use a stretched octave; the [[The Riemann Zeta Function and Tuning|zeta function]]-optimal tuning has an octave of roughly 1203 cents. Stringed instruments, in particular the piano, are frequently tuned with stretched octaves anyway due to the inharmonicity inherent in strings, which makes 19edo a promising option for them. Octave stretching also means that an out-of-tune interval can be replaced with a compounded or inverted version of it which is near-just. For instance, if we are using [[93ed30]] (a variant of 19edo in which 30:1 is just), then we have near-just minor thirds (6:5), compound major thirds (as 5:1), and compound fifths (as 6:1), giving us versions of everything in the 5-limit tonality diamond. The compound major and minor triads (1:5:6 and 30:6:5) are near-just as well.
Due to the narrow whole tones and wide diatonic semitones, 19edo's diatonic scale tends to sound somewhat dull compared to 12edo, but the pentatonic scale is said by many to sound much more expressive owing to the significantly larger contrast between the narrow whole tone and wide minor third. While 12edo has an expressive diatonic and dull pentatonic, the reverse is true in 19. Pentatonicism thus becomes more important in 19edo, and one option is to use the pentatonic scale as a sort of "super-chord", with "chord progressions" being modulations between pentatonic subsets of the superdiatonic scale.


=== As a means of extending harmony ===
=== Adaptive tuning ===
Because 19edo allows for more blended, consonant harmonies than 12edo does, it can be a much better candidate for using alternate forms of harmony such as quartal, secundal, and poly chords. [[William Lynch]] suggests the use of seventh chords of various types to be the fundamental sonorities with a triad deemed as incomplete. Higher extensions involving the 7th harmonic as well as other non diatonic chord extensions which tend to clash in 12edo blend much better in 19edo.
The no-11's 13-limit is represented relatively well and consistently. 19edo's negri, sensi and godzilla scales have many 13-limit chords. (You can think of the Sensi[8] [[3L 5s]] mos scale as 19edo's answer to the diminished scale. Both are made of two diminished seventh chords, but Sensi[8] gives you additional ratios of 7 and 13.) Its diminished fifth is also a very accurate approximation of the 23rd harmonic, being only 3.3{{c}} off [[23/16]].


In addition, [[Joseph Yasser]] talks about the idea of a 12 tone supra diatonic scale where the 7 tone major scale in 19edo becomes akin to the pentatonic of western music; as it would sound to a future generation, ambiguous and not tonally fortified. As paraphrased "A system in which the undeniable laws of tonal gravity exist, yet in a much more complex tonal universe." Yasser believed that music would eventually move to a 19-tone system with a 12-note supra diatonic scale would become the standard. While this has yet to happen, Yasser's concept of supra-diatonicity is intriguing and worth exploring for those wanting to extend tonality without sounding too alien.
Practically 19edo can be used ''adaptively'' on instruments which allow you to bend notes up: by different amounts, the 3rd, 5th, 7th, and 13th harmonics are all tuned flat. This is in contrast to 12edo, where this is not possible since the 5th and 7th harmonics are not only much farther from just than they are in 19edo, but fairly sharp already.  


19edo also closely approximates most of the intervals of [[Bozuji tuning]] (a 21st century tuning based on Gioseffo Zarlino's approach to just intonation). with most of the adjacent diatonic diminished and augmented intervals of Bozuji tuning represented enharmonically by one interval in 19edo.
Another option would be to use [[octave stretching]], which has similar benefits to adaptive use, but it also works for fixed-pitch Instruments. For more on that see the [[19edo#Octave stretch or compression|section on octave stretch]].


The narrow whole tones and wide diatonic semitones of 19edo give the diatonic scale a somewhat duller quality, but has the opposite effect on the pentatonic scale, which becomes much more expressive owing to the larger contrast between the narrow whole tone and wide minor third. While 12edo has an expressive diatonic and dull pentatonic, the reverse is true in 19. Pentatonicism thus becomes more important in 19edo, and one option is to use the pentatonic scale as a sort of "super-chord", with "chord progressions" being modulations between pentatonic subsets of the superdiatonic scale.
=== Subsets and supersets ===
19edo is the 8th [[prime edo]], following [[17edo]] and preceding [[23edo]]. As such, it does not contain any nontrivial subset edos, though it contains [[19ed4]].  


=== Prime harmonics ===
[[38edo]], which doubles 19edo, provides an approximation of harmonic 11 that works well with the flat tendency of its 5-limit mapping. See [[undevigintone]]. [[57edo]] effectively corrects the harmonic 7 to just, although it is [[76edo]] that fits the best. See [[meanmag]].
{{Harmonics in equal|19}}


=== Miscellaneous properties ===
=== Miscellaneous properties ===
19edo is the 8th [[prime edo]], following [[17edo]] and preceding [[23edo]].
19edo has the flattest possible fifth of any edo that can possibly be [[diamond monotone]] in the [[15-odd-limit]]. Using 11\19 as the fifth, the sharpest possible mapping of [[5/4]] where [[10/9]] is no greater than [[9/8]] is 6\19, so the sharpest possible [[15/8]] is 17\19. Here [[16/15]] is a quarter of [[4/3]] (as in any [[negri]] tuning), so [[15/14]], [[14/13]], and [[13/12]] must all be equated with [[16/15]] to 2\19 for them to be monotone in size. If the fifth were any flatter, 5/4 and 15/8 would have to be flatter, and 16/15 would have to be sharper, so diamond monotone in the 15-odd-limit becomes impossible. 19edo is, in fact, diamond monotone in the 15-odd-limit, and even the [[17-odd-limit]] (see [[Monotonicity limits of small EDOs]]). The sharpest fifth where 15-odd-limit is possible is [[37edo#Miscellaneous properties|22\37]].


== Intervals ==
== Intervals ==
Standard 12edo notation can be used, whether it is staff notation (with five lines), letter notation (with standard accidentals), solfege, or sargam.  Note that D# and Eb are two different notes.
{| class="wikitable center-1 right-2"
 
|-
{| class="wikitable right-1 right-2 center-4 center-6 center-7"
! [[Degree|#]]
! Degree
! [[Cent]]s
! Cents
! Note
! colspan="3" | Interval
! Approximated ratios<ref group="note">As a [[2.3.5.7.13 subgroup|2.3.5.7.13-subgroup]] temperament</ref>
! Solfege
! [[Interval category]]
! Dodecatonic notation
! Ratios*
|-
|-
| 0
| 0
| 0.00
| 0.0
| unison
| P1
| D
| D
| do
| P1
| [[1/1]]
| [[1/1]]
| Unison (prime)
|-
|-
| 1
| 1
| 63.16
| 63.2
| aug 1sn, dim 2nd
| D♯
| A1, d2
| [[25/24]], [[26/25]], [[27/26]], [[28/27]]
| D#, Ebb
| Augmented unison
| di
| A1, m2
| [[25/24]], [[28/27]], [[26/25]]
|-
|-
| 2
| 2
| 126.32
| 126.3
| minor 2nd
| E♭
| m2
| [[13/12]], [[14/13]], [[15/14]], [[16/15]]
| Eb
| Minor second
| ra
| M2, m3
| [[15/14]], [[16/15]], [[13/12]], [[14/13]]
|-
|-
| 3
| 3
| 189.47
| 189.5
| major 2nd
| M2
| E
| E
| re
| [[9/8]], [[10/9]]
| M3
| Major second
| [[9/8]], [[10/9]], [[125/112]]
|-
|-
| 4
| 4
| 252.63
| 252.6
| aug 2nd, dim 3rd
| E♯/F♭
| A2, d3
| E#, Fb
| ri/ma
| m4, a3
| [[7/6]], [[8/7]], [[15/13]]
| [[7/6]], [[8/7]], [[15/13]]
| Augmented second/<br>Diminished third
|-
|-
| 5
| 5
| 315.79
| 315.8
| minor 3rd
| m3
| F
| F
| me
| M4, m5
| [[6/5]]
| [[6/5]]
| Minor third
|-
|-
| 6
| 6
| 378.95
| 378.9
| major 3rd
| F♯
| M3
| F#
| mi
| M5
| [[5/4]], [[16/13]], [[56/45]]
| [[5/4]], [[16/13]], [[56/45]]
| Major third
|-
|-
| 7
| 7
| 442.11
| 442.1
| aug 3rd, dim 4th
| F𝄪/G♭
| A3, d4
| [[9/7]], [[13/10]], [[21/16]], [[32/25]]
| Fx, Gb
| Augmented third/<br>Diminished fourth
| mo
| A5, d6
| [[32/25]], [[9/7]], [[13/10]]
|-
|-
| 8
| 8
| 505.26
| 505.3
| perfect 4th
| P4
| G
| G
| fa
| P6
| [[4/3]], [[75/56]]
| [[4/3]], [[75/56]]
| Perfect fourth
|-
|-
| 9
| 9
| 568.42
| 568.4
| aug 4th
| G♯
| A4
| [[7/5]], [[18/13]], [[25/18]]
| G#
| Augmented fourth<br>(Small [[tritone]])
| fi
| A6, m7
| [[25/18]], [[7/5]], [[18/13]]
|-
|-
| 10
| 10
| 631.58
| 631.6
| dim 5th
| A♭
| d5
| [[10/7]], [[13/9]], [[36/25]]
| Ab
| Diminished fifth<br>(Large [[tritone]])
| se
| M7, d8
| [[36/25]], [[10/7]], [[13/9]]
|-
|-
| 11
| 11
| 694.74
| 694.7
| perfect 5th
| P5
| A
| A
| sol
| P8
| [[3/2]], [[112/75]]
| [[3/2]], [[112/75]]
| Perfect fifth
|-
|-
| 12
| 12
| 757.89
| 757.9
| aug 5th, dim 6th
| A♯/B𝄫
| A5, d6
| [[14/9]], [[20/13]], [[25/16]], [[32/21]]
| A#, Bbb
| Augmented fifth/<br>Diminished sixth
| lo
| A8, m9
| [[25/16]], [[14/9]], [[20/13]]
|-
|-
| 13
| 13
| 821.05
| 821.1
| minor 6th
| B♭
| m6
| Bb
| le
| M9, m10
| [[8/5]], [[13/8]], [[45/28]]
| [[8/5]], [[13/8]], [[45/28]]
| Minor sixth
|-
|-
| 14
| 14
| 884.21
| 884.2
| major 6th
| M6
| B
| B
| la
| M10
| [[5/3]]
| [[5/3]]
| Major sixth
|-
|-
| 15
| 15
| 947.37
| 947.4
| aug 6th, dim 7th
| B♯/C♭
| A6, d7
| B#, Cb
| li/ta
| m11, A10
| [[7/4]], [[12/7]], [[26/15]]
| [[7/4]], [[12/7]], [[26/15]]
| Augmented sixth<br>Diminished seventh
|-
|-
| 16
| 16
| 1010.53
| 1010.5
| minor 7th
| C
| [[9/5]], [[16/9]]
| Minor seventh
|-
| 17
| 1073.7
| C♯
| [[13/7]], [[15/8]], [[24/13]], [[28/15]]
| Major seventh
|-
| 18
| 1136.8
| D♭
| [[25/13]], [[27/14]], [[48/25]], [[52/27]]
| Augmented seventh
|-
| 19
| 1200.0
| D
| [[2/1]]
| Octave
|}
<references group="note"/>
 
=== Proposed interval names and solfèges ===
{| class="wikitable right-1 right-2 center-3 center-5 mw-collapsible mw-collapsed"
|+ style="white-space: nowrap;" | Table of proposed interval names and solfèges
|-
! #
! Cents
! [[Solfège]]
! colspan="2" | [[SKULO interval names]]
|-
| 0
| 0.0
| Do
| Unison
| P1
|-
| 1
| 63.2
| Di/Ro
| Super unison, subminor second
| S1, sm2
|-
| 2
| 126.3
| Ra
| Minor second
| m2
|-
| 3
| 189.5
| Re
| Major second
| M2
|-
| 4
| 252.6
| Ri/Ma
| Supermajor second, subminor third
| SM2, sm3
|-
| 5
| 315.8
| Me
| Minor third
| m3
|-
| 6
| 378.9
| Mi
| Major third
| M3
|-
| 7
| 442.1
| Mo/Fe
| Supermajor third, sub fourth
| SM3, s4
|-
| 8
| 505.3
| Fa
| Perfect fourth
| P4
|-
| 9
| 568.4
| Fi
| Augmented fourth
| A4
|-
| 10
| 631.6
| Se
| Diminished fifth
| d5
|-
| 11
| 694.7
| So
| Perfect fifth
| P5
|-
| 12
| 757.9
| Si/Lo
| Super fifth, subminor sixth
| S5, sm6
|-
| 13
| 821.1
| Le
| Minor sixth
| m6
|-
| 14
| 884.2
| La
| Major sixth
| M6
|-
| 15
| 947.4
| Li/Ta
| Supermajor sixth, subminor seventh
| SM6, sm7
|-
| 16
| 1010.5
| Te
| Minor seventh
| m7
| m7
| C
| te
| M11, m12
| [[9/5]], [[16/9]], [[224/125]]
|-
|-
| 17
| 17
| 1073.68
| 1073.7
| major 7th
| Ti
| Major seventh
| M7
| M7
| C#
| ti
| M12
| [[15/8]], [[13/7]], [[28/15]], [[24/13]]
|-
|-
| 18
| 18
| 1136.84
| 1136.8
| aug 7th, dim 8ve
| To/Da
| A7, d8
| Supermajor seventh, sub octave
| Cx, Db
| SM7, s8
| da
| A12, d13
| [[48/25]], [[27/14]], [[25/13]]
|-
|-
| 19
| 19
| 1200.00
| 1200.0
| perfect 8ve
| Do
| Octave
| P8
| P8
| D
| do
| P13
| [[2/1]]
|}
|}
<nowiki>*</nowiki> based on treating 19edo as a 2.3.5.7.13 subgroup temperament; other approaches are possible.


Using [[color notation]], qualities can be loosely associated with colors:
=== Interval quality and chord names in color notation ===
Using [[Kite's color notation]], qualities can be loosely associated with colors:


{| class="wikitable" style="text-align: center"
{| class="wikitable" style="text-align: center;"
! quality
|-
! [[color name]]
! Quality
! monzo format
! Color name
! examples
! Monzo format
! Examples
|-
|-
| diminished
| Diminished
| zo
| zo
| {a, b, 0, 1}
| {{nowrap|(''a'', ''b'', 0, 1)}}
| 7/6, 7/4
| 7/6, 7/4
|-
|-
| minor
| rowspan="2" | Minor
| fourthward wa
| fourthward wa
| {a, b}, b &lt; -1
| (''a'',&nbsp;''b''), {{nowrap|''b'' < −1}}
| 32/27, 16/9
| 32/27, 16/9
|-
|-
| "
| gu
| gu
| {a, b, -1}
| {{nowrap|(''a'', ''b'', −1)}}
| 6/5, 9/5
| 6/5, 9/5
|-
|-
| major
| rowspan="2" | Major
| yo
| yo
| {a, b, 1}
| {{nowrap|(''a'', ''b'', 1)}}
| 5/4, 5/3
| 5/4, 5/3
|-
|-
| "
| fifthward wa
| fifthward wa
| {a, b}, b &gt; 1
| (''a'',&nbsp;''b''), {{nowrap| ''b'' > 1 }}
| 9/8, 27/16
| 9/8, 27/16
|-
|-
| augmented
| Augmented
| ru
| ru
| {a, b, 0, -1}
| {{nowrap|(''a'', ''b'', 0, −1)}}
| 9/7, 12/7
| 9/7, 12/7
|}
|}


Key signatures are the same, but with the extra notes and different enharmonic equivalents, some key signatures can get messy. For example, the key of Bbb would have double-flats on B and E, and flats on C, D, F, G, and A. Thinking of rewriting this key as A# might seem better, but then the key signature would contain double-sharps on C, F, and G, and sharps on A, B, D, and E, which is actually worse.
Key signatures are the same, but with the extra notes and different enharmonic equivalents, some key signatures can get messy. For example, the key of B𝄫 would have double-flats on B and E, and flats on C, D, F, G, and A. Thinking of rewriting this key as A♯ might seem better, but then the key signature would contain double-sharps on C, F, and G, and sharps on A, B, D, and E, which is actually worse.


=== Chord names ===
All 19edo chords can be named using conventional methods, expanded to include augmented and diminished seconds, thirds, sixths and sevenths. Here are the zo, gu, yo and ru triads:
All 19edo chords can be named using conventional methods, expanded to include augmented and diminished 2nd, 3rds, 6ths and 7ths. Here are the zo, gu, yo and ru triads:


{| class="wikitable center-1 center-2 center-3 center-4"
{| class="wikitable center-1 center-2 center-3 center-4"
! [[Kite's color notation|color of the 3rd]]
|-
! Color of the third
! JI chord
! JI chord
! edosteps
! Edosteps
! notes of C chord
! Notes of C chord
! written name
! Written name
! spoken name
! Spoken name
|-
|-
| zo
| zo (7-over)
| 6:7:9
| 6:7:9
| 0-4-11
| 0–4–11
| C Ebb G
| C–E𝄫–G
| C(b3) or C(d3)
| Cm(♭3) or Cmin(♭3) or C(d3)
| C flat-three or C dim-three
| C subminor, C minor flat-three, C dim-three
|-
|-
| gu
| gu (5-under)
| 10:12:15
| 10:12:15
| 0-5-11
| 0–5–11
| C Eb G
| C–E♭–G
| Cm
| Cm or Cmin
| C minor
| C minor
|-
|-
| yo
| yo (5-over)
| 4:5:6
| 4:5:6
| 0-6-11
| 0–6–11
| C E G
| C–E–G
| C
| C or Cmaj
| C major or C
| C, C major
|-
|-
| ru
| ru (7-under)
| 14:18:21
| 14:18:21
| 0-7-11
| 0–7–11
| C E# G
| C–E♯–G
| C(#3) or C(A3)
| C(♯3) or Cmaj(♯3) or C(A3)
| C sharp-three or C aug-three
| C supermajor, C major sharp-three, C aug-three
|-
| yo (5-over)
| 4:5:6:7
| 0–6–11–15
| C–E–G–B𝄫
| Ch7 or C,d7 or Cadd(d7)
| C harmonic 7, C (major) add dim-seven
|-
| gu (5-under)
| 1/(12:10:8:7)<br>(1–6/5–3/2–12/7)
| 0–5–11–15
| C–E♭–G–A♯
| Cm♯6 or CmA6 or Cm(add(♯6)) or Cm(add(A6))
| C minor (add) sharp-six, C minor (add) aug-six
|}
|}


0-6-11-15 = C E G Bbb = C,d7 = C add dim-seven or C major dim-seven = 4:5:6:7
The last two chords illustrate how the 15\19 interval can be considered as either 7/4 or 12/7, and how 19edo conflates zo and ru ratios.


0-5-11-15 = C Eb G A# is Cm#6 or CmA6 = C minor sharp-six or C minor aug-six = 1/(4:5:6:7) = 1/1 - 6/5 - 3/2 - 12/7
For a more complete list, see [[19edo chords #Ups and downs notation]] and [[Kite's ups and downs notation #Chords and chord progressions]].


The last two chords illustrate how the 15\19 interval can be considered as either 7/4 or 12/7, and how 19edo tends to conflate zo and ru ratios.


For a more complete list, see [[19edo Chord Names]] and [[Ups and Downs Notation #Chords and Chord Progressions]].
== Notation ==
=== Standard notation ===
Standard 12edo notation can be used, whether it is staff notation (with five lines), letter [[chain-of-fifths notation]] (with standard accidentals), solfège, or sargam. Note that D# and Eb are two different notes.


== JI approximation ==
Any 19edo note or interval can be [[enharmonic unison|respelled enharmonically]] by adding a double-diminished second to it or subtracting one from it. Adding a dd2 is equivalent to finding the 12edo equivalent with a higher degree, then diminishing it. For example, C# becomes Db, which is diminished to become Dbb.
=== 15-odd-limit interval mappings ===
The following table shows how [[15-odd-limit intervals]] are represented in 19edo. Prime harmonics are in '''bold'''; inconsistent intervals are in ''italic''.


{| class="wikitable center-all mw-collapsible mw-collapsed"
{| class="wikitable right-1 right-2 center-3 center-4"
|+style=white-space:nowrap| 15-odd-limit intervals by direct approximation (even if inconsistent)
|+ style="font-size: 105%;" | Notation of 19edo
! Interval, complement
|-
! Error (abs, [[Cent|¢]])
! rowspan="2" | [[Degree|#]]
! Error (rel, [[Relative cent|%]])
! rowspan="2" | [[Cent]]s
! colspan="2" | [[Chain-of-fifths notation|Standard notation]]
|-
! [[5L 2s|Diatonic interval names]]
! Note names<br>on D
|-
| 0
| 0.0
| '''Perfect unison (P1)'''
| '''D'''
|-
| 1
| 63.2
| Augmented unison (A1)<br>Diminished second (d2)
| D#<br>Ebb
|-
| 2
| 126.3
| Doubly augmented unison (AA1)<br>Minor second (m2)
| Dx<br>Eb
|-
| 3
| 189.5
| '''Major second (M2)'''<br>Doubly diminished third (dd3)
| '''E'''<br>Fbb
|-
| 4
| 252.6
| Augmented second (A2)<br>Diminished third (d3)
| E#<br>Fb
|-
| 5
| 315.8
| Doubly augmented second (AA2)<br>'''Minor third (m3)'''
| Ex<br>'''F'''
|-
| 6
| 378.9
| '''Major third (M3)'''<br>Doubly diminished fourth (dd4)
| '''F#'''<br>Gbb
|-
| 7
| 442.1
| Augmented third (A3)<br>Diminished fourth (d4)
| Fx<br>Gb
|-
| 8
| 505.3
| '''Perfect fourth (P4)'''
| '''G'''
|-
|-
| [[6/5]], [[5/3]]
| 9
| 0.148
| 568.4
| 0.2
| Augmented fourth (A4)<br>Doubly diminished fifth (dd5)
| G#<br>Abb
|-
|-
| [[14/13]], [[13/7]]
| 10
| 1.982
| 631.6
| 3.1
| Doubly augmented fourth (AA4)<br>Diminished fifth (d5)
| Gx<br>Ab
|-
|-
| [[15/13]], [[26/15]]
| 11
| 4.891
| 694.7
| 7.7
| '''Perfect fifth (P5)'''
| '''A'''
|-
|-
| [[18/13]], [[13/9]]
| 12
| 5.039
| 757.9
| 8.0
| Augmented fifth (A5)<br>Diminished sixth (d6)
| A#<br>Bbb
|-
|-
| [[15/14]], [[28/15]]
| 13
| 6.873
| 821.1
| 10.9
| Doubly augmented fifth (AA5)<br>Minor sixth (m6)
| Ax<br>Bb
|-
| 14
| 884.2
| '''Major sixth (M6)'''<br>Doubly diminished seventh (dd7)
| '''B'''<br>Cbb
|-
| 15
| 947.4
| Augmented sixth (A6)<br>Diminished seventh (d7)
| B#<br>Cb
|-
| 16
| 1010.5
| Doubly augmented sixth (AA6)<br>'''Minor seventh (m7)'''
| Bx<br>'''C'''
|-
| 17
| 1073.7
| Major seventh (M7)<br>Doubly diminished octave (dd8)
| C#<br>Dbb
|-
| 18
| 1136.8
| Augmented seventh (A7)<br>Diminished octave (d8)
| Cx<br>Db
|-
| 19
| 1200.0
| '''Perfect octave (P8)'''
| '''D'''
|}
 
In 19edo:
* [[Ups and downs notation]] is identical to standard notation;
* Mixed [[sagittal notation]] is identical to standard notation, but pure sagittal notation exchanges sharps (♯) and flats (♭) for sagittal sharp ([[File:Sagittal sharp.png]]) and sagittal flat ([[File:Sagittal flat.png]]) respectively.
 
{{Sharpness-sharp1}}
 
=== Sagittal notation ===
This notation uses the same sagittal sequence as edos [[5edo #Sagittal notation|5]], [[12edo #Sagittal notation|12]], and [[26edo #Sagittal notation|26]], and is a subset of the notations for edos [[38edo #Sagittal notation|38]], [[57edo #Sagittal notation|57]], and [[76edo #Sagittal notation|76]].
 
==== Evo flavor ====
{{Sagittal chart|Evo}}
 
Because it includes no Sagittal symbols, this Evo Sagittal notation is identical to conventional notation.
 
==== Revo flavor ====
{{Sagittal chart}}
 
=== Dodecatonic notation ===
{| class="wikitable right-1 right-2 mw-collapsible mw-collapsed"
|+ style="font-size: 105%; white-space: nowrap;" | Dodecatonic notation of 19edo
|-
|-
| [[9/7]], [[14/9]]
! [[Degree|#]]
| 7.021
! [[Cent]]s
| 11.1
! Interval names
|-
|-
| [[10/9]], [[9/5]]
| 0
| 7.070
| 0.0
| 11.2
| P1
|-
|-
| '''[[4/3]], [[3/2]]'''
| 1
| '''7.218'''
| 63.2
| '''11.4'''
| A1, m2
|-
|-
| '''[[5/4]], [[8/5]]'''
| 2
| '''7.366'''
| 126.3
| '''11.7'''
| M2, m3
|-
|-
| [[13/10]], [[20/13]]
| 3
| 12.109
| 189.5
| 19.2
| M3
|-
|-
| [[13/12]], [[24/13]]
| 4
| 12.257
| 252.6
| 19.4
| m4, A3
|-
|-
| [[7/5]], [[10/7]]
| 5
| 14.091
| 315.8
| 22.3
| M4, m5
|-
|-
| [[7/6]], [[12/7]]
| 6
| 14.239
| 378.9
| 22.5
| M5
|-
|-
| [[9/8]], [[16/9]]
| 7
| 14.436
| 442.1
| 22.9
| A5, d6
|-
|-
| [[16/15]], [[15/8]]
| 8
| 14.585
| 505.3
| 23.1
| P6
|-
|-
| '''[[11/8]], [[16/11]]'''
| 9
| '''17.103'''
| 568.4
| '''27.1'''
| A6, m7
|-
|-
| '''[[16/13]], [[13/8]]'''
| 10
| '''19.475'''
| 631.6
| '''30.8'''
| M7, d8
|-
|-
| '''[[8/7]], [[7/4]]'''
| 11
| '''21.457'''
| 694.7
| '''34.0'''
| P8
|-
|-
| [[12/11]], [[11/6]]
| 12
| 24.321
| 757.9
| 38.5
| A8, m9
|-
|-
| [[11/10]], [[20/11]]
| 13
| 24.469
| 821.1
| 38.7
| M9, m10
|-
|-
| ''[[14/11]], [[11/7]]''
| 14
| ''24.597''
| 884.2
| ''38.9''
| M10
|-
|-
| ''[[13/11]], [[22/13]]''
| 15
| ''26.580''
| 947.4
| ''42.1''
| m11, A10
|-
|-
| ''[[15/11]], [[22/15]]''
| 16
| ''31.470''
| 1010.5
| ''49.8''
| M11, m12
|-
|-
| [[11/9]], [[18/11]]
| 17
| 31.539
| 1073.7
| 49.9
| M12
|-
| 18
| 1136.8
| A12, d13
|-
| 19
| 1200.0
| P13
|}
|}
{{15-odd-limit|19}}


=== Selected 17-limit intervals ===
== Approximation to JI ==
[[File:19ed2-001.svg|alt=alt : Your browser has no SVG support.]]
[[File:19ed2.svg|250px|thumb|right|alt=alt : Your browser has no SVG support.|Selected 19-limit intervals approximated in 19edo]]
 
=== Interval mappings ===
{{Q-odd-limit intervals|19}}


== Regular temperament properties ==
== Regular temperament properties ==
{| class="wikitable center-4 center-5 center-6"
{| class="wikitable center-4 center-5 center-6"
! rowspan="2" | Subgroup
|-
! rowspan="2" | [[Subgroup]]
! rowspan="2" | [[Comma list]]
! rowspan="2" | [[Comma list]]
! rowspan="2" | [[Mapping]]
! rowspan="2" | [[Mapping]]
Line 454: Line 659:
| 2.3
| 2.3
| {{monzo| -30 19 }}
| {{monzo| -30 19 }}
| [{{val| 19 30 }}]
| {{mapping| 19 30 }}
| +2.28
| +2.277
| 2.28
| 2.277
| 3.61
| 3.612
|-
|-
| 2.3.5
| 2.3.5
| 81/80, 3125/3072
| 81/80, 3125/3072
| [{{val| 19 30 44 }}]
| {{mapping| 19 30 44 }}
| +2.58
| +2.578
| 1.91
| 1.911
| 3.02
| 3.025
|-
|-
| 2.3.5.7
| 2.3.5.7
| 49/48, 81/80, 126/125
| 49/48, 81/80, 126/125
| [{{val| 19 30 44 53 }}]
| {{mapping| 19 30 44 53 }}
| +3.85
| +3.848
| 2.76
| 2.755
| 4.35
| 4.362
|-
|-
| 2.3.5.7.13
| 2.3.5.7.13
| 49/48, 65/64, 81/80, 91/90
| 49/48, 65/64, 81/80, 91/90
| [{{val| 19 30 44 53 70 }}]
| {{mapping| 19 30 44 53 70 }}
| +4.14
| +4.135
| 2.53
| 2.530
| 3.99
| 4.006
|-
| 2.3.5.7.13.23
| 49/48, 65/64, 70/69, 81/80, 91/90
| {{mapping| 19 30 44 53 70 86 }}
| +3.319
| 2.936
| 4.649
|}
|}
* 19et is lower in relative error than any previous equal temperaments in the 5-, 7-, 13-, 17-, and 19-limit&mdash;''both'' 19 and 19e val achieve this in the case of 13-limit, 19eg val in the 17-limit, and 19egh val in the 19-limit. The next equal temperaments doing better in those subgroups are [[34edo|34]], [[31edo|31]], [[27edo|27e]], [[22edo|22]], and [[26edo|26]], respectively.
* 19et is best in the 2.3.5.7.13 subgroup, and the next equal temperament that does better in this is [[53edo|53]].


19et is lower in relative error than any previous equal temperaments in the 5-, 7-, 13-, 17-, and 19-limit – ''both'' 19 and 19e val achieve this in the case of 13-limit, 19eg val in the 17-limit, and 19egh val in the 19-limit. The next ETs doing better in those subgroups are 34, 31, 27e, 22, and 26, respectively.
=== Uniform maps ===
 
{{Uniform map|edo=19}}
19et is prominent in the 2.3.5.7.13 subgroup, and the next ET that does better in this is 53.


=== Commas ===
=== Commas ===
19et [[tempers out]] the following [[comma]]s. (Note: This assumes the [[val]] {{val| 19 30 44 53 66 70 }}.)
19et [[tempering out|tempers out]] the following [[comma]]s. (Note: This assumes the [[val]] {{val| 19 30 44 53 66 70 }}.)


{| class="commatable wikitable center-all left-3 right-4 left-6"
{| class="commatable wikitable center-all left-3 right-4 left-6"
! [[Harmonic limit|Prime<br>Limit]]
|-
! [[Ratio]]<ref>Ratios longer than 10 digits are presented by placeholders with informative hints</ref>
! [[Harmonic limit|Prime<br>limit]]
! [[Ratio]]<ref group="note">{{rd}}</ref>
! [[Monzo]]
! [[Monzo]]
! [[Cents]]
! [[Cents]]
! [[Color notation/Temperament Names|Color Name]]
! [[Color notation/Temperament names|Color name]]
! Name
! Name
|-
| 3
| <abbr title="1162261467/1073741824">(20 digits)</abbr>
| {{monzo| -30 19 }}
| 137.14
| Trilawa
| [[19-comma]]
|-
|-
| 5
| 5
Line 502: Line 723:
| Laquadyo
| Laquadyo
| Negri comma
| Negri comma
|-
| 5
| <abbr title="1594323/1562500">(14 digits)</abbr>
| {{monzo| -2 13 -8}}
| 34.91
| Laquadbigu
| [[Unicorn comma]]
|-
|-
| 5
| 5
Line 544: Line 772:
| Neyo
| Neyo
| [[Enneadeca]]
| [[Enneadeca]]
|-
| 7
| [[59049/57344]]
| {{monzo| -13 10 0 -1 }}
| 50.72
| Laru
| Harrison's comma
|-
|-
| 7
| 7
Line 564: Line 799:
| 35.70
| 35.70
| Zozo
| Zozo
| Slendro diesis
| Semaphoresma, slendro diesis
|-
| 7
| [[3645/3584]]
| {{monzo| -9 6 1 -1 }}
| 29.22
| Laruyo
| Schismean comma
|-
|-
| 7
| 7
Line 585: Line 827:
| 14.19
| 14.19
| Zozoyo
| Zozoyo
| Sensamagic
| Sensamagic comma
|-
|-
| 7
| 7
Line 606: Line 848:
| 7.32
| 7.32
| Labirugu
| Labirugu
| Cataharry
| Cataharry comma
|-
|-
| 7
| 7
Line 613: Line 855:
| 6.48
| 6.48
| Satrizo-agu
| Satrizo-agu
| Hemimage
| Hemimage comma
|-
|-
| 7
| 7
Line 620: Line 862:
| 6.08
| 6.08
| Zozoquingu
| Zozoquingu
| Hemimean
| Hemimean comma
|-
|-
| 7
| 7
Line 627: Line 869:
| 1.63
| 1.63
| Latriru-asepyo
| Latriru-asepyo
| [[Meter]]
| [[Metric comma]]
|-
|-
| 7
| 7
Line 635: Line 877:
| Zoquadyo
| Zoquadyo
| Ragisma
| Ragisma
|-
| 11
| [[45/44]]
| {{monzo| -2 2 1 0 -1 }}
| 38.91
| Luyo
| Undecimal fifth tone
|-
| 11
| [[56/55]]
| {{monzo| 3 0 -1 1 -1 }}
| 31.19
| Luzogu
| Undecimal tritonic comma
|-
|-
| 11
| 11
Line 648: Line 904:
| 9.69
| 9.69
| Saluzo
| Saluzo
| Pentacircle
| Pentacircle comma
|-
|-
| 11
| 11
Line 670: Line 926:
| Lururuyo
| Lururuyo
| Swetisma
| Swetisma
|-
| 13
| [[39/38]]
| {{monzo| -1 1 0 0 0 1 0 -1 }}
| 44.97
| Nutho
| Undevicesimal two-ninth tone
|-
|-
| 13
| 13
Line 683: Line 946:
| 25.42
| 25.42
| Thuthutrizo
| Thuthutrizo
|
|  
|-
|-
| 13
| 13
Line 690: Line 953:
| 19.13
| 19.13
| Thozogu
| Thozogu
| Superleap
| Superleap comma, biome comma
|-
|-
| 13
| 13
Line 698: Line 961:
| Bithogu
| Bithogu
| Island comma
| Island comma
|-
| 13
| [[1001/1000]]
| {{monzo| -3 0 -3 1 1 1 }}
| 1.73
| Tholozotrigu
| Fairytale comma, sinbadma
|-
| 23
| [[2187/2116]]
| {{monzo| -2 7 0 0 0 0 0 0 -2 }}
| 57.14
| Labitwethu
| Lipsett comma
|-
| 23
| [[70/69]]
| {{monzo| 1 -1 1 1 0 0 0 0 -1 }}
| 24.91
| Twethuzoyo
| Small vicesimotertial eighth tone
|-
| 23
| 256/253
| {{monzo| 8 0 0 0 -1 0 0 0 -1 }}
| 20.41
| Twethulu
| 253rd subharmonic
|-
| 23
| [[161/160]]
| {{monzo| -5 0 -1 1 0 0 0 0 1 }}
| 10.79
| Twethozogu
| Major kirnbergisma
|-
| 23
| [[208/207]]
| {{monzo| 4 -2 0 0 0 1 0 0 -1 }}
| 8.34
| Twethutho
| Vicetone comma
|-
| 23
| [[529/528]]
| {{monzo| -4 -1 0 0 -1 0 0 0 2 }}
| 3.28
| Bitwetho-alu
| Preziosisma
|-
| 23
| [[576/575]]
| {{monzo| 6 2 -2 0 0 0 0 0 -1 }}
| 3.01
| Twethugugu
| Worcester comma
|-
| 23
| [[1288/1287]]
| {{monzo| 3 -2 0 1 -1 -1 0 0 1 }}
| 1.34
| Twethothuluzo
| Triaphonisma
|}
|}
<references/>
<references group="note" />


=== Linear temperaments ===
=== Linear temperaments ===
Line 705: Line 1,031:
* [[List of 19et rank two temperaments by complexity]]
* [[List of 19et rank two temperaments by complexity]]
* [[List of edo-distinct 19et rank two temperaments]]
* [[List of edo-distinct 19et rank two temperaments]]
* [[Syntonic-enneadecal equivalence continuum]]
* [[Syntonic–kleismic equivalence continuum]]


Since 19 is prime, all rank-2 temperaments in 19edo have one period per octave (i.e. are linear). Therefore you can make a correspondence between intervals and the linear temperaments they generate.
Since 19 is prime, all rank-2 temperaments in 19edo have one period per octave (i.e. are linear). Therefore you can make a correspondence between intervals and the linear temperaments they generate.


{| class="wikitable right-1 right-2"
{| class="wikitable center-1 right-2 center-3"
|-
|-
! Degree
! Degree
! Cents
! Cents
! Interval
! Interval
! MOSes
! Mos scales
! Generator for
! Temperaments
|-
|-
| 1
| 1
Line 721: Line 1,047:
| A1, d2
| A1, d2
|  
|  
| [[Unicorn]] / [[rhinocerus]]
| [[Unicorn]] / [[Rhinoceros]]
|-
|-
| 2
| 2
| 126.32
| 126.32
| m2
| m2
| [[1L 8s]], [[9L 1s]]
| [[1L&nbsp;8s]], [[9L&nbsp;1s]]
| [[Negri]]
| [[Negri]]
|-
|-
Line 732: Line 1,058:
| 189.47
| 189.47
| M2
| M2
| [[1L 5s]], [[6L 1s]], [[6L 7s]]
| [[1L&nbsp;5s]], [[6L&nbsp;1s]], [[6L&nbsp;7s]]
| [[Deutone]]<br>[[Spell]]
| [[Deutone]] <br>[[Xenial]] / [[Sensamagic clan #Xenia|Xenia]] <br>[[Spell]]
|-
|-
| 4
| 4
| 252.63
| 252.63
| A2, d3
| A2, d3
| [[1L 3s]], [[4L 1s]], <br>[[5L 4s]], [[5L 9s]]
| [[1L&nbsp;3s]], [[4L&nbsp;1s]], <br>[[5L&nbsp;4s]], [[5L&nbsp;9s]]
| [[Semaphore]] / [[godzilla]]
| [[Godzilla]] / [[Helayo]]
|-
|-
| 5
| 5
| 315.79
| 315.79
| m3
| m3
| [[3L 1s]], [[4L 3s]], <br>[[4L 7s]], [[4L 11s]]
| [[3L&nbsp;1s]], [[4L&nbsp;3s]], <br>[[4L&nbsp;7s]], [[4L&nbsp;11s]]
| [[Hanson]] / [[keemun]] / [[catakleismic]]
| [[Cata]] / [[keemun]]
|-
|-
| 6
| 6
| 378.95
| 378.95
| M3
| M3
| [[3L 1s]], [[3L 4s]], [[3L 7s]], <br>[[3L 10s]], [[3L 13s]]
| [[3L&nbsp;1s]], [[3L&nbsp;4s]], [[3L&nbsp;7s]], <br>[[3L&nbsp;10s]], [[3L&nbsp;13s]]
| [[Magic]]
| [[Magic]] / [[muggles]]
|-
|-
| 7
| 7
| 442.11
| 442.11
| A3, d4
| A3, d4
| [[3L 2s]], [[3L 5s]], [[8L 3s]]
| [[3L&nbsp;2s]], [[3L&nbsp;5s]], [[8L&nbsp;3s]]
| [[Sensipent]] / [[BPS]] / [[sensi]]
| [[Sensi]]
|-
|-
| 8
| 8
| 505.26
| 505.26
| P4
| P4
| [[2L 3s]], [[5L 2s]], [[7L 5s]]
| [[2L&nbsp;3s]], [[5L&nbsp;2s]], [[7L&nbsp;5s]]
| [[Meantone]] / [[flattone]]
| [[Meantone]] / [[flattone]]
|-
|-
Line 768: Line 1,094:
| 568.42
| 568.42
| A4
| A4
| [[2L 3s]], [[2L 5s]], [[2L 7s]], <br>[[2L 9s]], [[2L 11s]], [[2L 13s]], <br>[[2L 15s]]
| [[2L&nbsp;3s]], [[2L&nbsp;5s]], [[2L&nbsp;7s]], <br>[[2L&nbsp;9s]], [[2L&nbsp;11s]], [[2L&nbsp;13s]], <br>[[2L&nbsp;15s]]
| [[Lee]] / [[liese]] / [[pycnic]]<br>[[Triton]]
| [[Liese]] <br>[[Triton]] / [[pycnic]]
|}
|}
== Octave stretch or compression ==
19edo is a promising option as a meantone tuning for pianos if split sharps are acceptable, since pianos are frequently tuned with stretched octaves due to the slight [[inharmonicity]] inherent in their strings. It also works well with harpsichords, since many have been, and are, built with split sharps.
Octave stretching also means that an out-of-tune interval can be replaced with a compounded or inverted version of it which is near-[[just]]. For example, if we are using [[49ed6]] or [[30edt]] (which tune 6:1 and 3:1 just and have octaves stretched by 2.8 and 4.57{{c}}, respectively), then we have near-just minor thirds (6:5), compound major thirds (as 5:1), and compound fifths (as 6:1), giving us versions of everything in the 5-odd-limit [[tonality diamond]]. The compound major and minor triads (1:5:6 and 30:6:5) are near-just as well. Another possible choice is [[ZPI|65zpi]].


== Scales ==
== Scales ==
=== MOS scales ===
=== MOS scales ===
{{Main|List of MOS scales in {{PAGENAME}}}}
==== Octave-equivalent mosses ====
==== Octave-equivalent mosses ====
* [[meantone]] pentatonic, [[2L 3s]] (gen = 11\19): 33535
* [[Meantone]] pentic, [[2L 3s]] (gen = 11\19): 3 3 5 3 5
* [[meantone]] diatonic, [[5L 2s]] (gen = 11\19): 3323332
* [[Meantone]] diatonic, [[5L 2s]] (gen = 11\19): 3 3 2 3 3 3 2
* [[meantone]] chromatic, [[7L 5s]] (gen = 11\19): 212122121212
* [[Meantone]] chromatic, [[7L 5s]] (gen = 11\19): 2 1 2 1 2 2 1 2 1 2 1 2
* [[semaphore]][5], [[4L 1s]] (gen = 4\19): 44344
* [[Semaphore]][5], [[4L 1s]] (gen = 4\19): 4 4 3 4 4
* [[semaphore]][9], [[5L 4s]] (gen = 4\19): 313133131
* [[Semaphore]][9], [[5L 4s]] (gen = 4\19): 3 1 3 1 3 3 1 3 1
* [[semaphore]][14], [[5L 9s]] (gen = 4\19): 2121121121211211
* [[Semaphore]][14], [[5L 9s]] (gen = 4\19): 2 1 2 1 1 2 1 1 2 1 1 2 1 1
* [[sensi]][5], [[2L 3s]] (gen = 7\19): 52525
* [[Sensi]][5], [[2L 3s]] (gen = 7\19): 5 2 5 2 5
* [[sensi]][8], [[3L 5s]] (gen = 7\19): 23223223
* [[Sensi]][8], [[3L 5s]] (gen = 7\19): 2 3 2 2 3 2 2 3
* [[sensi]][11], [[8L 3s]] (gen = 7\19): 22122212221
* [[Sensi]][11], [[8L 3s]] (gen = 7\19): 2 2 1 2 2 2 1 2 2 2 1
* [[negri]][9], [[1L 8s]] (gen = 2\19): 222232222
* [[Negri]][9], [[1L 8s]] (gen = 2\19): 2 2 2 2 3 2 2 2 2
* [[negri]][10], [[9L 1s]] (gen = 2\19): 2222212222
* [[Negri]][10], [[9L 1s]] (gen = 2\19): 2 2 2 2 2 1 2 2 2 2
* [[kleismic]][7], [[4L 3s]] (gen = 5\19): 1414144
* [[Kleismic]][7], [[4L 3s]] (gen = 5\19): 1 4 1 4 1 4 4
* [[kleismic]][11], [[4L 7s]] (gen = 5\19): 13113113131
* [[Kleismic]][11], [[4L 7s]] (gen = 5\19): 1 3 1 1 3 1 1 3 1 3 1
* [[kleismic]][15], [[4L 11s]] (gen = 5\19): 121112111211211
* [[Kleismic]][15], [[4L 11s]] (gen = 5\19): 1 2 1 1 1 2 1 1 1 2 1 1 2 1 1
* [[magic]][7], [[3L 4s]] (gen = 6\19): 5151511
* [[Magic]][7], [[3L 4s]] (gen = 6\19): 5 1 5 1 5 1 1
* [[magic]][10], [[3L 7s]] (gen = 6\19): 4114114111
* [[Magic]][10], [[3L 7s]] (gen = 6\19): 4 1 1 4 1 1 4 1 1 1
* [[magic]][13], [[3L 10s]] (gen = 6\19): 3111311131111
* [[Magic]][13], [[3L 10s]] (gen = 6\19): 3 1 1 1 3 1 1 1 3 1 1 1 1
* Pathological [[magic]][16], [[3L 13s]] (gen = 6\19): 2111121111211111
* [[Magic]][16], [[3L 13s]] (gen = 6\19): 2 1 1 1 1 2 1 1 1 1 2 1 1 1 1 1
* Pathological [[liese]][17], [[2L 15s]] (gen = 9\19): 2111111111211111111
* [[Liese]][17], [[2L 15s]] (gen = 9\19): 2 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 1


=== Other scales ===
=== Other scales ===
* Meantone harmonic minor: 3233242
{{Main|19edo modes}}
* Meantone melodic minor: 3233332
 
* Meantone harmonic major: 3323242
* Meantone harmonic minor: 3 2 3 3 2 4 2
* Meantone / [[marvel double harmonic major]]: 2423242 (subset of Negri[9])
* Meantone melodic minor: 3 2 3 3 3 3 2 (ascending), 3 2 3 3 2 3 3 (descending)
* [[Semiquartal]] 3|5 b2: 133131331
* Meantone harmonic major: 3 3 2 3 2 4 2
* enharmonic pentatonic: 26326, 62362
* Chromatic octave species – meantone / [[marvel double harmonic major]] (subset of Negri[9]): 2 4 2 3 2 4 2
* enharmonic octave species: 1163116, 6113611, 1613161
* Chromatic octave species (subset of Negri[9]): 2 2 4 3 2 2 4
* [[Marvel hexatonic]]: 425242 (subset of Negri[9])
* Chromatic octave species - [[Sahara]] septatonic (subset of Negri[9]): 4 2 2 3 4 2 2
* [[Marvel hexatonic]] (subset of Negri[9]): 4 2 5 2 4 2
* Enharmonic pentatonic: 2 6 3 2 6
* Enharmonic pentatonic: 6 2 3 6 2
* Enharmonic octave species: 1 1 6 3 1 1 6
* Enharmonic octave species: 6 1 1 3 6 1 1
* Enharmonic octave species: 1 6 1 3 1 6 1
* [[Pinetone #Pinetone octatonic scales|Pinetone major-harmonic octatonic]]: 3 2 3 1 2 3 2 3 (subset of Meantone[12])
* [[Pinetone #Pinetone octatonic scales|Pinetone minor-harmonic octatonic]]: 3 2 1 3 2 3 3 2 (subset of Meantone[12])
* [[Pinetone #Pinetone diminished octatonic|Pinetone diminished octatonic]] / [[Porcusmine]]: 2 3 1 3 2 3 2 3
* [[Pinetone #Pinetone harmonic diminished octatonic|Pinetone harmonic diminished]]: 2 3 1 4 1 3 2 3
* [[Blackville]] / [[SNS ((2/1, 3/2)-5, 16/15)-10|5-limit dipentatonic]] (superset of Meantone[7]): 1 2 3 2 1 2 3 2 1 2
* [[Antipental blues]]: 4 4 1 2 4 4
* [[Semiquartal]] 3|5 b2: 1 3 3 1 3 1 3 3 1
* [[5-odd-limit]] tonality diamond: 5 1 2 3 2 1 5
* [[7-odd-limit]] tonality diamond: 4 1 1 2 1 1 1 2 1 1 4
* [[9-odd-limit]] tonality diamond: 3 1 1 1 1 1 1 1 1 1 1 1 1 1 3


== Instruments ==
== Instruments ==
[[File:Vaisvil-19edo-guitar-IMG00145-1024x768.jpg|512x384px|thumb|none|19 note per octave Ibanez conversion by Brad Smith (Indianapolis)]]
[[File:Vaisvil-19edo-guitar-IMG00145-1024x768.jpg|512x384px|thumb|none|19 note per octave Ibanez conversion by Brad Smith (Indianapolis)]]
[[File:Bass19.jpg|alt=19-EDO 5 string Bass 34"-37" scale length|frame|19-EDO bass conversion by Ron Sword.|none]]
[[File:Bass19.jpg|alt=19edo 5 string Bass 34"-37" scale length|512x384px|thumb|none|19edo bass conversion by Ron Sword]]


== Music ==
== Music ==
{{See also|:Category:19edo tracks}}
{{Main| 19edo/Music }}
{{Catrel| 19edo tracks }}
 
; [http://micro.soonlabel.com/19-ET/ XA 19-ET Index]
; [http://micro.soonlabel.com/19-ET/ XA 19-ET Index]
; [[Stephen Weigel]]
* [https://stephenweigel.bandcamp.com/album/weigel-family-christmas-xenharmonic-chocolate ''WEIGEL FAMILY CHRISTMAS (xenharmonic chocolate)''], an album of xenharmonic Christmas covers played by [https://www.stephenweigelcomposerperformer.com/ Stephen Weigel], many are in 19edo
; [[Aaron Krister Johnson]]
* [https://soundcloud.com/aaron-krister-johnson/the-juggler ''The Juggler'']
; [[Jacob Barton]]
* [https://www.soundclick.com/music/songInfo.cfm?songID=1008195 ''Foum'']
; [[Christopher Bailey]]
* [http://christopherbaileymusic.com/the-score-to-sand/ ''Sand'']
* [http://works.music.columbia.edu/%7Echris/19mix1.mp3 ''Walking Down the Hillside at Cortona, and Seeing its Towers Rise Before Me'']{{dead link}}
* [http://www.emcollective.org/chris/items/ditty/ditty_fast.mp3 ''Ditty'']{{dead link}}
; [[Guillaume Costeley]]
* ''[[Seigneur Dieu ta pitié]]''
; [[Ivor Darreg]]
* [http://micro.soonlabel.com/0-hosted-albums/ivor/02%20Prelude%202%20for%2019%20tone%20guitar.mp3 ''Prelude 2 for 19 tone guitar'']
; [[William Sethares]]
* [http://sethares.engr.wisc.edu/mp3s/sympathetic.html ''Sympathetic Metaphor'']
* [http://sethares.engr.wisc.edu/mp3s/truthonabus.html ''Truth on a bus'']
; [[Aaron Andrew Hunt]]
* [http://www.h-pi.com/mp3/Rondo19ET.mp3 ''Rondo in 19ET'']{{dead link}}
* [https://soundcloud.com/uz1kt3k/fuga-in-19et-2020 ''Fugue in 19ET (2020)'']
; [[John Starrett]]
* [http://web.archive.org/web/20201127014902/http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Starrett/CitifiedNotions19tet.mp3 ''Citified Notions'']
* [http://archive.org/download/LimpOffToSchool/LimpOffToSchool19tet.mp3 ''Limp Off to School'']
; [[Mykhaylo Khramov]]
* [http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Khramov/betelgeuse.mp3 ''The Light Of My Betelgeuse'']{{dead link}}
; [[Jon Lyle Smith]]
* [http://archive.org/download/ElementalsFor2PianosIn19EqualTemperament/01.Undines.mp3 ''Undines'']{{dead link}}
* [http://archive.org/download/ElementalsFor2PianosIn19EqualTemperament/02.Sylphs.mp3 ''Sylphs'']{{dead link}}
* [http://archive.org/download/ElementalsFor2PianosIn19EqualTemperament/03.Gnomes.mp3 ''Gnomes'']{{dead link}}
* [http://archive.org/download/ElementalsFor2PianosIn19EqualTemperament/04.Salamanders.mp3 ''Salamanders'']{{dead link}}
* [http://archive.org/details/AnotherAireForLute ''Another Aire For Lute'']{{dead link}}
; A number of compositions that were perfomed at the [http://midwestmicrofest.org/concerts.html midwestmicrofest concert in 2007]{{dead link}}
; A number of compositions that were perfomed at the [http://midwestmicrofest.org/concerts.html midwestmicrofest concert in 2007]{{dead link}}
; [[Easley Blackwood]]
* [https://youtu.be/HbuFPpiJL1o ''Fanfare in 19-note Equal Tuning'']
; [[Milan Guštar]]
* [http://www.uvnitr.cz/flaoyg/flao_yg/zvire.html ''Zvíře''] ([http://www.uvnitr.cz/flaoyg/flao_yg/zvire.mp3 play])
; [[ZIA]], [[Elaine Walker]] and [[D.D.T.]]
* [http://www.ziaspace.com/ZIA/sections/music.html 19tet downloadable mp3s by ZIA, Elaine Walker and D.D.T.]<sup>[which?]</sup>
; [[Randy Winchester]]
* [http://micro.soonlabel.com/gene_ward_smith/Others/Winchester/14%20-%2014.%2019%20octave.mp3 ''Comets Over Flatland 14'']{{dead link}}
; [[Chris Vaisvil]]
* [http://chrisvaisvil.com/?p=865 ''Forgetting Even Her Beauty''] ([http://micro.soonlabel.com/19-ET/daily20110516-19-forgetting_even_her_beauty.mp3 play])
* [http://chrisvaisvil.com/?p=855 ''19 Black Hawks for Osama''] ([http://www.youtube.com/watch?v=gGO0R381HQs play video])
* [http://chrisvaisvil.com/?p=823 ''Summer Song''] ([http://micro.soonlabel.com/19-ET/daily20110501-19-summer_song_mix3.mp3 play]) by [[Trevor]] (The TwoRegs) and [[Norm Harris]] and Chris Vaisvil
* [http://chrisvaisvil.com/?p=820 ''19 ImprovFridays''] ([http://www.youtube.com/watch?v=-KaRXFoYwT4 play video of performance])
* [http://chrisvaisvil.com/?p=800 ''The World has Changed''] ([http://micro.soonlabel.com/19-ET/daily20110429-19edo-the_world_has_changed3.mp3 play])
* [http://chrisvaisvil.com/?p=883 ''jjj''] ([http://micro.soonlabel.com/19-ET/daily20110523-19take2.mp3 play])
; [[Omega9]]
* [http://soundcloud.com/omega9/chip-chamber ''Now listen! Pitch!''] ([http://micro.soonlabel.com/gene_ward_smith/Others/Omega9/Now%20listen%21%20Pitch%21.mp3 play])
* [https://www.youtube.com/watch?v=mlvme3ukPLE ''Cordas'' (19edo version)] ([http://micro.soonlabel.com/gene_ward_smith/Others/Omega9/Omega9%20-%20Cordas.mp3 play])
* [https://soundcloud.com/omega9/19ef-29-04-11-07-m ''A Piece in 19edo''] ([http://www.youtube.com/watch?v=DSOGF4gDYu8 on YouTube])
* [http://soundcloud.com/omega9/a-piece-in-19edo-version-3 ''A Piece in 19edo (version #3)''] ([http://micro.soonlabel.com/gene_ward_smith/Others/Omega9/Omega9%20-%20A%20Piece%20in%2019edo.mp3 play])
; [[Claudi Meneghin]]
* [http://micro.soonlabel.com/gene_ward_smith/Others/Meneghin/WTC2-24/19-edo-A-Prelude.mp3 Bach’s Prelude number 24 from Well Tempered Clavier, Book II] rendered by Claudi Meneghin{{dead link}}
* [http://micro.soonlabel.com/gene_ward_smith/Others/Meneghin/WTC2-24/19-edo-B-Fugue.mp3 Bach’s Fugue number 24 from Well Tempered Clavier, Book II] rendered by Claudi Meneghin{{dead link}}
; [[Löis Lancaster]]
* [http://micro.soonlabel.com/gene_ward_smith/Others/Roncevaux/_Movi_Nove__by_Roncevaux_on_SoundCloud___Hear_the_world_s_sounds.mp3 ''Movi-Nove'']{{dead link}} ([https://soundcloud.com/lois-lancaster SoundCloud user page])
; [[Rewarrp]]
* [https://soundcloud.com/rewarrp/psychedelic-delt ''psychedelic delt'']
; [[Cam Taylor]]
* [https://soundcloud.com/camtaylor-1/17-out-of-19edo-bright-objects ''Bright Objects''] – 17-tone fifths chain in 19edo
* [https://soundcloud.com/cam-taylor-2-1/17-out-of-19edo-wurly-minor-thirds-minor-sevens ''Minor Thirds, Minor Sevens''] – 17-tone fifths chain in 19edo
* [https://soundcloud.com/camtaylor-1/wurly-minors-and-enharmonic-tetrachords-17-out-of-19edo ''Wurly Minors and Enharmonic Tetrachords''] – 17-tone fifths chain in 19edo
; [[Bostjan Zupancic]]
* [https://www.youtube.com/watch?v=JTpF2MifP5Y ''Brain for Breakfast''] – 19edo piece (first movement uses 19-tone serialism)
* [https://www.youtube.com/watch?v=arn08IsWGzY ''Psychoclowns''] – 19edo pseudo-rondo
; [[User:Userminusone|Userminusone]]
* [https://youtu.be/msvKrQg5tv8 ''Whitespace'']
; [[Joel Mandelbaum]]
* [http://anaphoria.com/mjm15.pdf ''Nine preludes for two pianos in 19-tone equal temperament''] (score only)
; [[Flora Canou]]
* ''[[Undevicesimal Fugues]]'' – album in 19ettoc5 (19et in [[5-limit]] [[TOC tuning]])


== See also ==
== See also ==
* [[19edo modes]]
* [[19edo modes]]
* [[19edo chords]]
* [[19edo chords]]
*
* [[Strictly proper 19edo scales]]
* [[Strictly proper 19edo scales]]
* [[How to tune a 19edo guitar by ear]]
* [[How to tune a 19edo guitar by ear]]
* [[Primer for 19edo]]
* [[Primer for 19edo]]
* [[Mason Green's New Common Practice Notation]]
* [[Mason Green's New Common Practice Notation]]
* [[Arto and Tendo Theory]]
* [[Extraclassical tonality]]
* [[Lumatone mapping for 19edo]]
* [[Lumatone mapping for 19edo]]


=== Articles ===
== Further reading ==
* [http://www.tonalsoft.com/sonic-arts/darreg/case.htm A Case for Nineteen] by [[Ivor Darreg]] [http://www.webcitation.org/5xZzBtDGF Permalink]
* [[Darreg, Ivor]]. ''[http://www.tonalsoft.com/sonic-arts/darreg/case.htm A Case for Nineteen]''. 1982.
* [http://www.microstick.net/nineteenarticle.htm Nineteen for the Nineties] by Ivor Darreg
* Darreg, Ivor. ''[http://www.microstick.net/nineteenarticle.htm Nineteen for the Nineties]''{{dead link}}. (Unknown date of publication).
* [http://qcpages.qc.edu/%7Ehowe/articles/19-Tone%20Theory.html 19-Tone Theory and Applications] by Hubert S. Howe Jr. [http://www.webcitation.org/5xbMKVaqa Permalink]
* Howe, Hubert S., Jr. [http://qcpages.qc.edu/%7Ehowe/articles/19-Tone%20Theory.html 19-Tone Theory and Applications]. c. 2004.
* [http://sethares.engr.wisc.edu/tet19/guitarchords19.html Tunings for 19 Tone Equal Tempered Guitar] by William A. Sethares [http://www.webcitation.org/5xeCbEPZ0 Permalink]
* [[Sethares, William A]]. [http://sethares.engr.wisc.edu/tet19/guitarchords19.html Tunings for 19 Tone Equal Tempered Guitar]. 1991.
* [http://www.n-ism.org/Projects/microtonalism.php Microtonalism] by Bailey, Morrison, Pearson and Parncutt [http://www.webcitation.org/5xeDFQDvn Permalink]
* [[Sword, Ron]]. ''[http://www.metatonalmusic.com/books.html Enneadecaphonic Scales for Guitar: A Repository of Scales, Chord-Scales, Notations and Techniques for Nineteen Equal Divisions of the Octave]''. 2010.
* [http://tonalsoft.com/enc/number/19edo.aspx 19-tone equal-temperament and 1/3-comma meantone - Encyclopedia of Microtonal Music Theory] [http://tonalsoft.com/enc/number/19edo.aspx Permalink]
* Yasser, Joseph. ''[https://www.worldcat.org/fr/title/726192994 Theory of Evolving Tonality]''. 1932.
 
== External links ==
* [http://tonalsoft.com/enc/number/19edo.aspx 19-tone equal-temperament and 1/3-comma meantone / 19-edo / 19-ed2] on the [[Tonalsoft Encyclopedia]]
* [http://www.n-ism.org/Projects/microtonalism.php Microtonalism] by Ingrid Pearson, Graham Hair, Dougie McGilvray, Nick Bailey, Amanda Morrison and Richard Parncutt (from n-ISM, the Network for Interdisciplinary Studies in Science, Technology, and Music)
* [http://mtg.redkeylabs.com/index.php?topic=6.0 Forum Discussion with some 19-EDO xenharmonic scales Hanson (Keemun), Liese, Negri, Magic, Semaphore, Sensi played on guitar].
* [http://mtg.redkeylabs.com/index.php?topic=6.0 Forum Discussion with some 19-EDO xenharmonic scales Hanson (Keemun), Liese, Negri, Magic, Semaphore, Sensi played on guitar].
* [http://www.ronsword.com/books.html Enneadecaphonic Scales for Guitar] by [[Ron Sword]]
* [[Bostjan Zupancic]]'s [https://sites.google.com/site/bostjanzupancickhereb/home/bostjan/microtones/19edo 19-EDO pages]  
* [[Bostjan Zupancic]]'s [https://sites.google.com/site/bostjanzupancickhereb/home/bostjan/microtones/19edo 19-EDO pages]  
* Here is a [https://sites.google.com/view/19edoscales catalog of all 19edo heptatonic scales].
* [https://sites.google.com/view/19edoscales Catalog of all 19edo heptatonic scales]


=== References ===
=== References ===
* Bucht, Saku and Huovinen, Erkki, ''Perceived consonance of harmonic intervals in 19-tone equal temperament'', CIM04_proceedings.
* Bucht, Saku and Huovinen, Erkki, ''Perceived consonance of harmonic intervals in 19-tone equal temperament'', CIM04_proceedings.
* Levy, Kenneth J., ''Costeley's Chromatic Chanson'', Annales Musicologues: Moyen-Age et Renaissance, Tome II [[Category:Equal divisions of the octave]] [[Category:Golden meantone]] [[Category:Listen]] [[Category:Meantone]] [[Category:Prime EDO]] [[Category:Teentuning]] [[Category:Zeta]] I (1955), pp. 213-261.
* Levy, Kenneth J., ''Costeley's Chromatic Chanson'', Annales Musicologues: Moyen-Age et Renaissance, Tome III (1955), pp. 213-261.


[[Category:19-tone scales]]
[[Category:19-tone scales]]
[[Category:19edo| ]] <!-- main article -->
[[Category:Godzilla]]
[[Category:Golden meantone]]
[[Category:Kleismic]]
[[Category:Meantone]]
[[Category:Magic]]
[[Category:Negri]]
[[Category:Semaphore]]
[[Category:Sensi]]
[[Category:Teentuning]]
[[Category:Historical]]
Retrieved from "https://en.xen.wiki/w/19edo"