Equiheptatonic: Difference between revisions
Jump to navigation
Jump to search
mNo edit summary |
mNo edit summary |
||
| Line 11: | Line 11: | ||
* [[Mande]] music from West Africa | * [[Mande]] music from West Africa | ||
* [[Shona]] music from [[Zimbabwean|Zimbabwe]] | * [[Shona]] music from [[Zimbabwean|Zimbabwe]] | ||
* [[Thai]] classical music | * [[Thai]] classical music (heavily disputed<ref>Garzoli, John. [http://iftawm.org/journal/oldsite/articles/2015b/Garzoli_AAWM_Vol_4_2.pdf ''The Myth of Equidistance in Thai Tuning.'']</ref>) | ||
* [[Vietnamese]] classical music | * [[Vietnamese]] classical music | ||
* Lower [[Zambezi]] music | * Lower [[Zambezi]] music | ||
| Line 22: | Line 23: | ||
* [[Equipentatonic]] | * [[Equipentatonic]] | ||
* [[African music]] | * [[African music]] | ||
== Notes == | |||
[[Category:7-tone scales]][[Category:7edo]][[Category:Traditions]] | [[Category:7-tone scales]][[Category:7edo]][[Category:Traditions]] | ||
Revision as of 06:32, 17 November 2024
Equiheptatonic scales are heptatonic scales with 7 roughly equally spaced tones per octave.
They are usually not exactly equally spaced, but deviate from equal by small amounts, often to improve the tuning of 3/1 and 5/1.
Musical traditions that make use of equiheptatonic scales include:
- Eastern Angolan music
- Cambodian classical music
- Ancient Greek auloi music
- Chopi music from Mozambique (inspired Erv Wilson to create the mavila temperament)
- Laotian classical music
- Mande music from West Africa
- Shona music from Zimbabwe
- Thai classical music (heavily disputed[1])
- Vietnamese classical music
- Lower Zambezi music
- Nyungwe music
Note that just because a tradition has an equiheptatonic scale doesn’t mean it uses it exclusively. They often have other tunings too. Also, the term “scale” here is used loosely, because many, perhaps the majority, of musical traditions don’t use scales, but use something else like tetrachords, raag, etc. that scales can only loosely model.
An exactly equal equiheptatonic scale equals 7edo, which is popular with modern Western xenharmonic composers.
See also
Notes
- ↑ Garzoli, John. The Myth of Equidistance in Thai Tuning.