Ed7: Difference between revisions
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Incidentally, one way to treat 7/1 as an equivalence is to eliminate the primes 2, 3, and 5 and use the 7:11:13:(49) 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 [[5/4]], here it takes seven [[13/7]] to get to [[11/7]] (tempering out the comma 63412811/62748517 in the 7.11.13 subgroup). This temperament yields 10, 13, 16, 19, 22, 25, and 47 note MOS. If 7/1 is too wide to be used as an equivalence, the next best option would be [[Ed11/7|equal divisions of 11/7]]. | Incidentally, one way to treat 7/1 as an equivalence is to eliminate the primes 2, 3, and 5 and use the 7:11:13:(49) 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 [[5/4]], here it takes seven [[13/7]] to get to [[11/7]] (tempering out the comma 63412811/62748517 in the 7.11.13 subgroup). This temperament yields 10, 13, 16, 19, 22, 25, and 47 note MOS. If 7/1 is too wide to be used as an equivalence, the next best option would be [[Ed11/7|equal divisions of 11/7]]. | ||
== Table of similar ETs == | |||
== Individual pages for ED7s == | == Individual pages for ED7s == | ||