Ed7/3: Difference between revisions
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Wikispaces>JosephRuhf **Imported revision 601174718 - Original comment: ** |
Wikispaces>JosephRuhf **Imported revision 601175486 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:JosephRuhf|JosephRuhf]] and made on <tt>2016-12-01 23: | : This revision was by author [[User:JosephRuhf|JosephRuhf]] and made on <tt>2016-12-01 23:33:53 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>601175486</tt>.<br> | ||
: The revision comment was: <tt></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> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
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Division of e. g. the 7:3 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of [[equivalence]] has not even been posed yet. The utility of 7:3 or another tenth as a base though, is apparent by being the absolute widest range most generally used in popular songs as well as a fairly trivial point to split the difference between the octave and the tritave. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy. | Division of e. g. the 7:3 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of [[equivalence]] has not even been posed yet. The utility of 7:3 or another tenth as a base though, is apparent by being the absolute widest range most generally used in popular songs as well as a fairly trivial point to split the difference between the octave and the tritave. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy. | ||
Incidentally, one way to treat 7/3 as an equivalence is the use of the 3:4:5:6:(7) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes two 28/15 to get to 7/2 (tempering out the comma 225/224). So, doing this yields | Incidentally, one way to treat 7/3 as an equivalence is the use of the 3:4:5:6:(7) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes two 28/15 to get to 7/2 (tempering out the comma 225/224). So, doing this yields 15, 19, and 34 note MOS. While the notes are rather farther apart, the scheme is uncannily similar to meantone. "Macrochromatic" might be a practically perfect term for it if it hasn't been named yet.</pre></div> | ||
<h4>Original HTML content:</h4> | <h4>Original HTML content:</h4> | ||
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>edX</title></head><body><span style="font-size: 19.5px;">Division of a tenth (e. g. 7/3) into n equal parts</span><br /> | <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>edX</title></head><body><span style="font-size: 19.5px;">Division of a tenth (e. g. 7/3) into n equal parts</span><br /> | ||
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Division of e. g. the 7:3 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of <a class="wiki_link" href="/equivalence">equivalence</a> has not even been posed yet. The utility of 7:3 or another tenth as a base though, is apparent by being the absolute widest range most generally used in popular songs as well as a fairly trivial point to split the difference between the octave and the tritave. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy.<br /> | Division of e. g. the 7:3 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of <a class="wiki_link" href="/equivalence">equivalence</a> has not even been posed yet. The utility of 7:3 or another tenth as a base though, is apparent by being the absolute widest range most generally used in popular songs as well as a fairly trivial point to split the difference between the octave and the tritave. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy.<br /> | ||
<br /> | <br /> | ||
Incidentally, one way to treat 7/3 as an equivalence is the use of the 3:4:5:6:(7) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes two 28/15 to get to 7/2 (tempering out the comma 225/224). So, doing this yields | Incidentally, one way to treat 7/3 as an equivalence is the use of the 3:4:5:6:(7) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes two 28/15 to get to 7/2 (tempering out the comma 225/224). So, doing this yields 15, 19, and 34 note MOS. While the notes are rather farther apart, the scheme is uncannily similar to meantone. &quot;Macrochromatic&quot; might be a practically perfect term for it if it hasn't been named yet.</body></html></pre></div> | ||
Revision as of 23:33, 1 December 2016
IMPORTED REVISION FROM WIKISPACES
This is an imported revision from Wikispaces. The revision metadata is included below for reference:
- This revision was by author JosephRuhf and made on 2016-12-01 23:33:53 UTC.
- The original revision id was 601175486.
- The revision comment was:
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.
Original Wikitext content:
<span style="font-size: 19.5px;">Division of a tenth (e. g. 7/3) into n equal parts</span> Division of e. g. the 7:3 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of [[equivalence]] has not even been posed yet. The utility of 7:3 or another tenth as a base though, is apparent by being the absolute widest range most generally used in popular songs as well as a fairly trivial point to split the difference between the octave and the tritave. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy. Incidentally, one way to treat 7/3 as an equivalence is the use of the 3:4:5:6:(7) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes two 28/15 to get to 7/2 (tempering out the comma 225/224). So, doing this yields 15, 19, and 34 note MOS. While the notes are rather farther apart, the scheme is uncannily similar to meantone. "Macrochromatic" might be a practically perfect term for it if it hasn't been named yet.
Original HTML content:
<html><head><title>edX</title></head><body><span style="font-size: 19.5px;">Division of a tenth (e. g. 7/3) into n equal parts</span><br /> <br /> <br /> Division of e. g. the 7:3 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of <a class="wiki_link" href="/equivalence">equivalence</a> has not even been posed yet. The utility of 7:3 or another tenth as a base though, is apparent by being the absolute widest range most generally used in popular songs as well as a fairly trivial point to split the difference between the octave and the tritave. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy.<br /> <br /> Incidentally, one way to treat 7/3 as an equivalence is the use of the 3:4:5:6:(7) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes two 28/15 to get to 7/2 (tempering out the comma 225/224). So, doing this yields 15, 19, and 34 note MOS. While the notes are rather farther apart, the scheme is uncannily similar to meantone. "Macrochromatic" might be a practically perfect term for it if it hasn't been named yet.</body></html>