Flattone: Difference between revisions

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'''Flattone''' is an alternative [[extension]] to [[5-limit]] [[meantone]], the [[temperament]] that [[tempering out|tempers out]] the [[81/80|syntonic comma (81/80)]]. It is generated by a fifth that is typically flatter than that of meantone, and nine of those reach the [[pitch class]] of [[8/7]], so that [[7/4]] is a diminished seventh (C-B𝄫), [[7/6]] is a diminished third (C-E𝄫), and [[7/5]] is a doubly ~~diminshed~~ fifth (C-G𝄫).

'''Flattone''' is an alternative [[extension]] to [[5-limit]] [[meantone]], the [[temperament]] that [[tempering out|tempers out]] the [[81/80|syntonic comma (81/80)]]. It is generated by a fifth that is typically flatter than that of meantone, and nine of those reach the [[pitch class]] of [[8/7]], so that [[7/4]] is a diminished seventh (C-B𝄫), [[7/6]] is a diminished third (C-E𝄫), and [[7/5]] is a doubly diminished fifth (C-G𝄫). Although 7/4 is simpler than in septimal meantone, the full 9-limit tonality diamond is more complex as the 5 and 7 are reached by going in opposite directions, while also being less accurate.

11- and 13-limit ~~extensions are fairly obvious~~, ~~using the heavily tempered~~ [[~~chromatic semitone~~]] ~~for the undecimal quartertone of~~ [[33/32]] ~~and~~ the ~~tridecimal~~ third ~~tone of~~ [[27/26]]~~. 11~~/~~8 is an augmented fourth~~, ~~and~~ 13/8 is a minor sixth, ~~conflated with~~ [[~~8/5~~]].

However, it makes up for that by having simpler 11 and 13-limit interpretations - the whole tone is now flat enough that it can function as 9/8, 10/9 and 11/10, tempering out [[100/99]] and making [[11/8]] an augmented fourth. This means the major third functions as both 5/4 and 11/9. Tempering out [[65/64]] means it also represents their [[mediant]] [[16/13]], making [[13/8]] a minor sixth and a full otonal chord of 8:9:10:11:12:13:14:15:16 accessible with a gamut of 16 notes, compared to 19 for tridecimal meantone or the 29 required by [[meanpop]].

Reasonable tunings lie between [[19edo]] and [[26edo]]. 19edo is the point where 7/4 and [[12/7]] are conflated. Any tuning whose fifth is sharper than 19edo's has the sizes of 7/4 and 12/7 inverted, so they can be more properly analysed as septimal meantone. Similarly, 26edo is the point where 7/5 and [[10/7]] are conflated. Any tuning whose fifth is flatter than 26edo's has the sizes of 7/5 and 10/7 inverted, so they can be more properly analysed as a flatter-of-flattone temperament.

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-'''Flattone''' is an alternative [[extension]] to [[5-limit]] [[meantone]], the [[temperament]] that [[tempering out|tempers out]] the [[81/80|syntonic comma (81/80)]]. It is generated by a fifth that is typically flatter than that of meantone, and nine of those reach the [[pitch class]] of [[8/7]], so that [[7/4]] is a diminished seventh (C-B𝄫), [[7/6]] is a diminished third (C-E𝄫), and [[7/5]] is a doubly diminshed fifth (C-G𝄫).
+'''Flattone''' is an alternative [[extension]] to [[5-limit]] [[meantone]], the [[temperament]] that [[tempering out|tempers out]] the [[81/80|syntonic comma (81/80)]]. It is generated by a fifth that is typically flatter than that of meantone, and nine of those reach the [[pitch class]] of [[8/7]], so that [[7/4]] is a diminished seventh (C-B𝄫), [[7/6]] is a diminished third (C-E𝄫), and [[7/5]] is a doubly diminished fifth (C-G𝄫). Although 7/4 is simpler than in septimal meantone, the full 9-limit tonality diamond is more complex as the 5 and 7 are reached by going in opposite directions, while also being less accurate.
-- and 13-limit extensions are fairly obvious, using the heavily tempered [[chromatic semitone]] for the undecimal quartertone of [[33/32]] and the tridecimal third tone of [[27/26]]. 11/8 is an augmented fourth, and 13/8 is a minor sixth, conflated with [[8/5]].
+However, it makes up for that by having simpler 11 and 13-limit interpretations - the whole tone is now flat enough that it can function as 9/8, 10/9 and 11/10, tempering out [[100/99]] and making [[11/8]] an augmented fourth. This means the major third functions as both 5/4 and 11/9. Tempering out [[65/64]] means it also represents their [[mediant]] [[16/13]], making [[13/8]] a minor sixth and a full otonal chord of 8:9:10:11:12:13:14:15:16 accessible with a gamut of 16 notes, compared to 19 for tridecimal meantone or the 29 required by [[meanpop]].
 Reasonable tunings lie between [[19edo]] and [[26edo]]. 19edo is the point where 7/4 and [[12/7]] are conflated. Any tuning whose fifth is sharper than 19edo's has the sizes of 7/4 and 12/7 inverted, so they can be more properly analysed as septimal meantone. Similarly, 26edo is the point where 7/5 and [[10/7]] are conflated. Any tuning whose fifth is flatter than 26edo's has the sizes of 7/5 and 10/7 inverted, so they can be more properly analysed as a flatter-of-flattone temperament.