Ed5/2: Difference between revisions
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== Properties == | == Properties == | ||
Division of 5/2 into equal parts does not necessarily imply directly using this interval as an [[equivalence]] | Division of 5/2 into equal parts does not necessarily imply directly using this interval as an [[equivalence]]. Many, though not all, ed5/2 scales have a perceptually important [[Pseudo-octave|false octave]], with various degrees of accuracy. | ||
The structural utility of 5/2 (or another tenth) is apparent by its being the base of so much common practice tonal harmony{{clarify}}, and by 5/2 being the best option for “no-threes” harmony excluding the octave{{clarify}}. | |||
Another option is to treat ed5/2's as "no-threes" systems (like how [[edt]]s are usually treated as no-twos), using the 4:5:7:(10) chord as the fundamental complete sonority instead of 4:5:6:(8). Whereas in meantone it takes four [[4/3]] to get to [[6/5]], here it takes one [[10/7]] to get to [[7/5]] (tempering out the comma [[50/49]] in the no-threes 7-limit), producing a nonoctave version of jubilic temperament. Doing this yields 5-, 8-, 13-, and 21-note mos. | One way to approach ed5/2 tunings is the use of the 2:3:4:(5) 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 3/2 to get to 6/5 (tempering out the comma 3125/3048). So, doing this yields 5-, 7-, and 12-note [[mos]], just like meantone. While the notes are rather closer together, the scheme shares the scale shape of meantone. | ||
[[Joseph Ruhf]] proposes the term "[[Macrodiatonic and microdiatonic scales|Macrodiatonic]]"{{idiosyncratic}} for the above approach because it uses a scheme that turns out exactly identical to meantone, though severely stretched. These are also the [[MOS]] scales formerly known as Middletown{{idiosyncratic}} because a tenth base stretches the meantone scheme to the point where it tempers out 64/63. | |||
Another option is to treat ed5/2's as "no-threes" systems (like how [[edt]]s are usually treated as no-twos), using the 4:5:7:(10) chord as the fundamental complete sonority instead of 4:5:6:(8). Whereas in meantone it takes four [[4/3]] to get to [[6/5]], here it takes one [[10/7]] to get to [[7/5]] (tempering out the comma [[50/49]] in the no-threes 7-limit), producing a nonoctave version of [[jubilic]] temperament. Doing this yields 5-, 8-, 13-, and 21-note mos. | |||
== Individual pages for ed5/2's == | == Individual pages for ed5/2's == | ||
Revision as of 02:02, 25 April 2025
The equal division of 5/2 (ed5/2) is a tuning obtained by dividing the classic major tenth (5/2) in a certain number of equal steps.
Properties
Division of 5/2 into equal parts does not necessarily imply directly using this interval as an equivalence. Many, though not all, ed5/2 scales have a perceptually important false octave, with various degrees of accuracy.
The structural utility of 5/2 (or another tenth) is apparent by its being the base of so much common practice tonal harmony[clarification needed], and by 5/2 being the best option for “no-threes” harmony excluding the octave[clarification needed].
One way to approach ed5/2 tunings is the use of the 2:3:4:(5) 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 3/2 to get to 6/5 (tempering out the comma 3125/3048). So, doing this yields 5-, 7-, and 12-note mos, just like meantone. While the notes are rather closer together, the scheme shares the scale shape of meantone.
Joseph Ruhf proposes the term "Macrodiatonic"[idiosyncratic term] for the above approach because it uses a scheme that turns out exactly identical to meantone, though severely stretched. These are also the MOS scales formerly known as Middletown[idiosyncratic term] because a tenth base stretches the meantone scheme to the point where it tempers out 64/63.
Another option is to treat ed5/2's as "no-threes" systems (like how edts are usually treated as no-twos), using the 4:5:7:(10) chord as the fundamental complete sonority instead of 4:5:6:(8). Whereas in meantone it takes four 4/3 to get to 6/5, here it takes one 10/7 to get to 7/5 (tempering out the comma 50/49 in the no-threes 7-limit), producing a nonoctave version of jubilic temperament. Doing this yields 5-, 8-, 13-, and 21-note mos.
Individual pages for ed5/2's
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