61edo: Difference between revisions
Jump to navigation
Jump to search
is that really necessary? |
Undo (yup, it's a good piece of information, also add author) Tag: Undo |
||
| Line 1: | Line 1: | ||
{{Infobox ET}} | {{Infobox ET}} | ||
{{EDO intro|61}} | {{EDO intro|61}} | ||
== Theory == | == Theory == | ||
61edo provides the [[optimal patent val]] for the [[freivald]] (24 & 37) temperament in the 7-, 11- and 13-limit. | |||
61edo provides the [[optimal patent val]] for the [[freivald]] (24&37) temperament in the 7-, 11- and 13-limit. | |||
61edo is the 18th [[prime edo]], after of [[59edo]] and before of [[67edo]]. | 61edo is the 18th [[prime edo]], after of [[59edo]] and before of [[67edo]]. | ||
| Line 9: | Line 9: | ||
=== Odd harmonics === | === Odd harmonics === | ||
{{Harmonics in equal|61|columns=11}} | {{Harmonics in equal|61|columns=11}} | ||
== Table of intervals == | == Table of intervals == | ||
{{Interval table}} | {{Interval table}} | ||
[[ | == Miscellany == | ||
=== Mnemonic descriptive poem === | |||
These 61 equal divisions of the octave, | |||
though rare are assuredly a ROCK-tave (har har), | |||
while the 3rd and 5th harmonics are about six cents sharp, | |||
(and the flattish 15th poised differently on the harp), | |||
the 7th and 11th err by less, around three, | |||
and thus mayhap, a good orgone tuning found to be; | |||
slightly sharp as well, is the 13th harmonic's place, | |||
but the 9th and 17th lack near so much grace, | |||
interestingly the 19th is good but a couple cents flat, | |||
and the 21st and 23rd are but a cent or two sharp! | |||
—by [[Peter Kosmorsky]] | |||
Revision as of 07:53, 22 December 2023
| ← 60edo | 61edo | 62edo → |
Theory
61edo provides the optimal patent val for the freivald (24 & 37) temperament in the 7-, 11- and 13-limit.
61edo is the 18th prime edo, after of 59edo and before of 67edo.
Odd harmonics
| Harmonic | 3 | 5 | 7 | 9 | 11 | 13 | 15 | 17 | 19 | 21 | 23 | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Error | Absolute (¢) | +6.24 | +7.13 | -4.89 | -7.19 | -0.50 | +5.37 | -6.30 | -6.59 | -2.43 | +1.35 | +1.23 |
| Relative (%) | +31.7 | +36.2 | -24.9 | -36.5 | -2.5 | +27.3 | -32.0 | -33.5 | -12.4 | +6.9 | +6.3 | |
| Steps (reduced) |
97 (36) |
142 (20) |
171 (49) |
193 (10) |
211 (28) |
226 (43) |
238 (55) |
249 (5) |
259 (15) |
268 (24) |
276 (32) | |
Table of intervals
| Steps | Cents | Approximate ratios | Ups and downs notation |
|---|---|---|---|
| 0 | 0 | 1/1 | D |
| 1 | 19.7 | ^D, vvE♭ | |
| 2 | 39.3 | ^^D, vE♭ | |
| 3 | 59 | 29/28, 32/31 | ^3D, E♭ |
| 4 | 78.7 | 22/21, 23/22 | ^4D, ^E♭ |
| 5 | 98.4 | 35/33 | v3D♯, ^^E♭ |
| 6 | 118 | 31/29 | vvD♯, ^3E♭ |
| 7 | 137.7 | 13/12 | vD♯, v4E |
| 8 | 157.4 | 23/21, 34/31, 35/32 | D♯, v3E |
| 9 | 177 | 21/19, 31/28 | ^D♯, vvE |
| 10 | 196.7 | 19/17 | ^^D♯, vE |
| 11 | 216.4 | 26/23 | E |
| 12 | 236.1 | ^E, vvF | |
| 13 | 255.7 | 22/19 | ^^E, vF |
| 14 | 275.4 | 34/29 | F |
| 15 | 295.1 | 19/16 | ^F, vvG♭ |
| 16 | 314.8 | 6/5 | ^^F, vG♭ |
| 17 | 334.4 | 17/14, 23/19 | ^3F, G♭ |
| 18 | 354.1 | ^4F, ^G♭ | |
| 19 | 373.8 | 26/21 | v3F♯, ^^G♭ |
| 20 | 393.4 | vvF♯, ^3G♭ | |
| 21 | 413.1 | 14/11, 33/26 | vF♯, v4G |
| 22 | 432.8 | F♯, v3G | |
| 23 | 452.5 | 13/10 | ^F♯, vvG |
| 24 | 472.1 | 21/16 | ^^F♯, vG |
| 25 | 491.8 | G | |
| 26 | 511.5 | 35/26 | ^G, vvA♭ |
| 27 | 531.1 | 19/14 | ^^G, vA♭ |
| 28 | 550.8 | 11/8 | ^3G, A♭ |
| 29 | 570.5 | 25/18, 32/23 | ^4G, ^A♭ |
| 30 | 590.2 | 31/22 | v3G♯, ^^A♭ |
| 31 | 609.8 | vvG♯, ^3A♭ | |
| 32 | 629.5 | 23/16 | vG♯, v4A |
| 33 | 649.2 | 16/11, 35/24 | G♯, v3A |
| 34 | 668.9 | 28/19 | ^G♯, vvA |
| 35 | 688.5 | ^^G♯, vA | |
| 36 | 708.2 | A | |
| 37 | 727.9 | 29/19, 32/21, 35/23 | ^A, vvB♭ |
| 38 | 747.5 | 20/13 | ^^A, vB♭ |
| 39 | 767.2 | ^3A, B♭ | |
| 40 | 786.9 | 11/7 | ^4A, ^B♭ |
| 41 | 806.6 | 35/22 | v3A♯, ^^B♭ |
| 42 | 826.2 | 21/13 | vvA♯, ^3B♭ |
| 43 | 845.9 | 31/19 | vA♯, v4B |
| 44 | 865.6 | 28/17, 33/20 | A♯, v3B |
| 45 | 885.2 | 5/3 | ^A♯, vvB |
| 46 | 904.9 | 32/19 | ^^A♯, vB |
| 47 | 924.6 | 29/17 | B |
| 48 | 944.3 | 19/11 | ^B, vvC |
| 49 | 963.9 | ^^B, vC | |
| 50 | 983.6 | 23/13 | C |
| 51 | 1003.3 | 34/19 | ^C, vvD♭ |
| 52 | 1023 | ^^C, vD♭ | |
| 53 | 1042.6 | 31/17 | ^3C, D♭ |
| 54 | 1062.3 | 24/13 | ^4C, ^D♭ |
| 55 | 1082 | v3C♯, ^^D♭ | |
| 56 | 1101.6 | vvC♯, ^3D♭ | |
| 57 | 1121.3 | 21/11 | vC♯, v4D |
| 58 | 1141 | 31/16 | C♯, v3D |
| 59 | 1160.7 | ^C♯, vvD | |
| 60 | 1180.3 | ^^C♯, vD | |
| 61 | 1200 | 2/1 | D |
Miscellany
Mnemonic descriptive poem
These 61 equal divisions of the octave,
though rare are assuredly a ROCK-tave (har har),
while the 3rd and 5th harmonics are about six cents sharp,
(and the flattish 15th poised differently on the harp),
the 7th and 11th err by less, around three,
and thus mayhap, a good orgone tuning found to be;
slightly sharp as well, is the 13th harmonic's place,
but the 9th and 17th lack near so much grace,
interestingly the 19th is good but a couple cents flat,
and the 21st and 23rd are but a cent or two sharp!
—by Peter Kosmorsky