Ed7/2: Difference between revisions
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If one wishes to treat 7/2 as an equivalence, one way is the use of the 3:4:5:6:7:8 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 [[4/3]] to get to the octave, ([[tempering out]] the comma [[64/63]]). So, doing this yields 9-, 13-, 22- and 31-note [[MOS scale]]s. While the notes are rather farther apart, the scheme is uncannily similar to [[orwell]]. This is the ''yakuman temperament'', named by Joseph Ruhf, that is a kind of macro-orwell. | If one wishes to treat 7/2 as an equivalence, one way is the use of the 3:4:5:6:7:8 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 [[4/3]] to get to the octave, ([[tempering out]] the comma [[64/63]]). So, doing this yields 9-, 13-, 22- and 31-note [[MOS scale]]s. While the notes are rather farther apart, the scheme is uncannily similar to [[orwell]]. This is the ''yakuman temperament'', named by Joseph Ruhf, that is a kind of macro-orwell. | ||
== Proposed names for 7/2-equivalent temperament | == Proposed names for 7/2-equivalent temperament collections == | ||
=== Joseph Ruhf’s names === | === Joseph Ruhf’s names === | ||
* Tetrad and Pentatonic - Mangan Temperament | * Tetrad and Pentatonic - Mangan Temperament | ||