EDO: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>

This is an imported revision from Wikispaces. The revision metadata is included below for reference:

: This revision was by author [[User:~~xenjacob~~|~~xenjacob~~]] and made on <tt>2011-07-~~17 15~~:34:01 UTC</tt>.

: This revision was by author [[User:hstraub|hstraub]] and made on <tt>2011-07-18 03:01:56 UTC</tt>.

: The original revision id was <tt>~~241674443~~</tt>.

: The original revision id was <tt>241736865</tt>.

: The revision comment was: <tt></tt>

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If you are an avid seeker of totally unusual sounds that have next-to-no connection with the common practice, you might like 11, 13, 14, 15, 16, 18, 21, 23 or 25.

You will quickly find that the //factorization// of the total number of notes in each EDO has consequences for its structure and the way it relates to other EDOs. For example, 6 = 2 x 3, so 6-edo contains all of the intervals in both 2-edo and 3-edo. On the other hand, 7 is a prime number, so no 7-edo intervals are redundant with those of smaller EDOs.

You will quickly find that the //factorization// of the total number of notes in each EDO has consequences for its structure and the way it relates to other EDOs. For example, 6 = 2 x 3, so 6-edo contains all of the intervals in both 2-edo and 3-edo. On the other hand, 7 is a prime number, so no 7-edo intervals are redundant with those of smaller EDOs. See [[prime numbers#prime numbers in EDOs|prime numbers in EDOs]] for more details.

The [[MOSScales|Moments of Symmetry]] paradigm is a fascinating way of thinking about building sub-scales of EDOs and relating them to non-EDO scales, as well as finding common melodic patterns between multiple EDOs.

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If you are an avid seeker of totally unusual sounds that have next-to-no connection with the common practice, you might like 11, 13, 14, 15, 16, 18, 21, 23 or 25.

You will quickly find that the factorization of the total number of notes in each EDO has consequences for its structure and the way it relates to other EDOs. For example, 6 = 2 x 3, so 6-edo contains all of the intervals in both 2-edo and 3-edo. On the other hand, 7 is a prime number, so no 7-edo intervals are redundant with those of smaller EDOs.

You will quickly find that the factorization of the total number of notes in each EDO has consequences for its structure and the way it relates to other EDOs. For example, 6 = 2 x 3, so 6-edo contains all of the intervals in both 2-edo and 3-edo. On the other hand, 7 is a prime number, so no 7-edo intervals are redundant with those of smaller EDOs. See <a class="wiki_link" href="/prime%20numbers#prime numbers in EDOs">prime numbers in EDOs</a> for more details.

The <a class="wiki_link" href="/MOSScales">Moments of Symmetry</a> paradigm is a fascinating way of thinking about building sub-scales of EDOs and relating them to non-EDO scales, as well as finding common melodic patterns between multiple EDOs.

@@ Line 1: / Line 1: @@
 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:xenjacob|xenjacob]] and made on <tt>2011-07-17 15:34:01 UTC</tt>.<br>
+: This revision was by author [[User:hstraub|hstraub]] and made on <tt>2011-07-18 03:01:56 UTC</tt>.<br>
-: The original revision id was <tt>241674443</tt>.<br>
+: The original revision id was <tt>241736865</tt>.<br>
 : The revision comment was: <tt></tt><br>
 The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
@@ Line 28: / Line 28: @@
 If you are an avid seeker of totally unusual sounds that have next-to-no connection with the common practice, you might like 11, 13, 14, 15, 16, 18, 21, 23 or 25.
-You will quickly find that the //factorization// of the total number of notes in each EDO has consequences for its structure and the way it relates to other EDOs. For example, 6 = 2 x 3, so 6-edo contains all of the intervals in both 2-edo and 3-edo. On the other hand, 7 is a prime number, so no 7-edo intervals are redundant with those of smaller EDOs.
+You will quickly find that the //factorization// of the total number of notes in each EDO has consequences for its structure and the way it relates to other EDOs. For example, 6 = 2 x 3, so 6-edo contains all of the intervals in both 2-edo and 3-edo. On the other hand, 7 is a prime number, so no 7-edo intervals are redundant with those of smaller EDOs. See [[prime numbers#prime numbers in EDOs|prime numbers in EDOs]] for more details.
 The [[MOSScales|Moments of Symmetry]] paradigm is a fascinating way of thinking about building sub-scales of EDOs and relating them to non-EDO scales, as well as finding common melodic patterns between multiple EDOs.
@@ Line 104: / Line 104: @@
 If you are an avid seeker of totally unusual sounds that have next-to-no connection with the common practice, you might like 11, 13, 14, 15, 16, 18, 21, 23 or 25.&lt;br /&gt;
 &lt;br /&gt;
-You will quickly find that the &lt;em&gt;factorization&lt;/em&gt; of the total number of notes in each EDO has consequences for its structure and the way it relates to other EDOs. For example, 6 = 2 x 3, so 6-edo contains all of the intervals in both 2-edo and 3-edo. On the other hand, 7 is a prime number, so no 7-edo intervals are redundant with those of smaller EDOs.&lt;br /&gt;
+You will quickly find that the &lt;em&gt;factorization&lt;/em&gt; of the total number of notes in each EDO has consequences for its structure and the way it relates to other EDOs. For example, 6 = 2 x 3, so 6-edo contains all of the intervals in both 2-edo and 3-edo. On the other hand, 7 is a prime number, so no 7-edo intervals are redundant with those of smaller EDOs. See &lt;a class="wiki_link" href="/prime%20numbers#prime numbers in EDOs"&gt;prime numbers in EDOs&lt;/a&gt; for more details.&lt;br /&gt;
 &lt;br /&gt;
 The &lt;a class="wiki_link" href="/MOSScales"&gt;Moments of Symmetry&lt;/a&gt; paradigm is a fascinating way of thinking about building sub-scales of EDOs and relating them to non-EDO scales, as well as finding common melodic patterns between multiple EDOs.&lt;br /&gt;