7edo: Difference between revisions

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Similarly, in equi-heptatonic systems the desire for harmonic sound may dictate constant adjustments of intonation away from the theoretical interval of 171 cents. One of the most impressive areas in Africa in which a pen-equidistant heptatonic scale is combined with a distinctively harmonic style based on singing in intervals of thirds plus fifths, or thirds plus fourths, is the eastern Angolan culture area. This music is heptatonic and non-modal; i.e., there is no concept of major or minor thirds as distinctive intervals. In principle all the thirds are neutral, but in practice the thirds rendered by the singers often approximate natural major thirds (386 cents), especially at points of rest. In this manner, the principles of equidistance and harmonic euphony are accommodated within one tonal-harmonic system. For the notation of such music, a seven-line stave is most appropriate, with each horizontal line representing one pitch level.

~~A Thai xylophone measured by Morton (1974) "varied only plus or minus 5 cents," from 7edo.~~ A Ugandan Chopi xylophone measured by Haddon (1952) was also tuned to this system.

A Ugandan Chopi xylophone measured by Haddon (1952) was also tuned to this system.

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== Observations ==

~~Related in a lateral way to traditional Thai music.~~ Subset of [[14edo]] and [[21edo]].

Subset of [[14edo]] and [[21edo]].

There is a neutral feel between whole tone scale and major/minor diatonic scale. The second (171.429¢) works well as a basic step for melodic progression.

The step from seventh to octave is too large for the leading tone.

It has often been stated that 7edo approximates tunings used in Thai classical music. This is a myth unsupported by empirical studies of the instruments.<ref>Garzoli, John. [http://iftawm.org/journal/oldsite/articles/2015b/Garzoli_AAWM_Vol_4_2.pdf "The Myth of Equidistance in Thai Tuning."]</ref>

== Notation==

@@ Line 21: / Line 21: @@
 Similarly, in equi-heptatonic systems the desire for harmonic sound may dictate constant adjustments of intonation away from the theoretical interval of 171 cents. One of the most impressive areas in Africa in which a pen-equidistant heptatonic scale is combined with a distinctively harmonic style based on singing in intervals of thirds plus fifths, or thirds plus fourths, is the eastern Angolan culture area. This music is heptatonic and non-modal; i.e., there is no concept of major or minor thirds as distinctive intervals. In principle all the thirds are neutral, but in practice the thirds rendered by the singers often approximate natural major thirds (386 cents), especially at points of rest. In this manner, the principles of equidistance and harmonic euphony are accommodated within one tonal-harmonic system. For the notation of such music, a seven-line stave is most appropriate, with each horizontal line representing one pitch level.
-A Thai xylophone measured by Morton (1974) "varied only plus or minus 5 cents," from 7edo. A Ugandan Chopi xylophone measured by Haddon (1952) was also tuned to this system.
+A Ugandan Chopi xylophone measured by Haddon (1952) was also tuned to this system.
 <references/>
@@ Line 89: / Line 89: @@
 == Observations ==
-Related in a lateral way to traditional Thai music. Subset of [[14edo]] and [[21edo]].
+Subset of [[14edo]] and [[21edo]].
 There is a neutral feel between whole tone scale and major/minor diatonic scale. The second (171.429¢) works well as a basic step for melodic progression.
 The step from seventh to octave is too large for the leading tone.
+It has often been stated that 7edo approximates tunings used in Thai classical music. This is a myth unsupported by empirical studies of the instruments.<ref>Garzoli, John. [http://iftawm.org/journal/oldsite/articles/2015b/Garzoli_AAWM_Vol_4_2.pdf "The Myth of Equidistance in Thai Tuning."]</ref>
 == Notation==