User:Xenllium/Ed7/4: Difference between revisions
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''' | The '''equal division of 7/4''' ('''ed7/4''') is a [[tuning]] obtained by dividing the [[7/4|septimal minor seventh (7/4)]] in a certain number of [[equal]] steps. | ||
== Properties == | == Properties == | ||
Division of 7 | Division of 7/4 into equal parts does not necessarily imply directly using this interval as an [[equivalence]]. The question of equivalence has not even been posed yet. The utility of 7/4 (or another seventh) as a base though, is apparent by being used at the base of so much modern tonal harmony. Many, though not all, of these scales have a perceptually important false octave, with various degrees of accuracy. | ||
Incidentally, one way to treat 7/4 as an equivalence is the use of the 4:5:6:(7) chord as the fundamental complete sonority in a very similar way to the 3:4:5:(6) chord in meantone. Whereas in meantone it takes three 4/3 to get to 6/5, here it takes three 5/4 to get to 7/6 (tempering out the comma 392/375). So, doing this yields 5, 7, and 12 note | Incidentally, one way to treat 7/4 as an equivalence is the use of the 4:5:6:(7) chord as the fundamental complete sonority in a very similar way to the 3:4:5:(6) chord in meantone. Whereas in meantone it takes three 4/3 to get to 6/5, here it takes three 5/4 to get to 7/6 (tempering out the comma 392/375). So, doing this yields 5-, 7-, and 12-note [[mos]], just like meantone. While the notes are rather closer together, the scheme is exactly identical to meantone. "Microdiatonic" might be a perfect term for it because it uses a scheme that turns out exactly identical to meantone, though severely compressed. | ||
Where examples of this particular temperament in use are concerned, they are already everywhere, just with notes which are rather farther apart. | Where examples of this particular temperament in use are concerned, they are already everywhere, just with notes which are rather farther apart. | ||
== Individual pages for | == Individual pages for ed7/4's == | ||
* [[5ed7/4]] | * [[5ed7/4]] | ||
* [[7ed7/4]] | * [[7ed7/4]] | ||
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[[Category:Equal-step tuning]] | [[Category:Equal-step tuning]] | ||
[[Category:Ed7/4| ]] | [[Category:Ed7/4| ]] <!-- main article --> | ||
Revision as of 15:26, 18 May 2024
The equal division of 7/4 (ed7/4) is a tuning obtained by dividing the septimal minor seventh (7/4) in a certain number of equal steps.
Properties
Division of 7/4 into equal parts does not necessarily imply directly using this interval as an equivalence. The question of equivalence has not even been posed yet. The utility of 7/4 (or another seventh) as a base though, is apparent by being used at the base of so much modern tonal harmony. Many, though not all, of these scales have a perceptually important false octave, with various degrees of accuracy.
Incidentally, one way to treat 7/4 as an equivalence is the use of the 4:5:6:(7) chord as the fundamental complete sonority in a very similar way to the 3:4:5:(6) chord in meantone. Whereas in meantone it takes three 4/3 to get to 6/5, here it takes three 5/4 to get to 7/6 (tempering out the comma 392/375). So, doing this yields 5-, 7-, and 12-note mos, just like meantone. While the notes are rather closer together, the scheme is exactly identical to meantone. "Microdiatonic" might be a perfect term for it because it uses a scheme that turns out exactly identical to meantone, though severely compressed.
Where examples of this particular temperament in use are concerned, they are already everywhere, just with notes which are rather farther apart.