User:Unque/37edo Composition Theory: Difference between revisions
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{| class="wikitable" | {| class="wikitable" | ||
|+ | |+ | ||
Intervals of 37edo | |||
!Intervals | !Intervals | ||
!Cents | !Cents | ||
| Line 34: | Line 35: | ||
|[[28/27]] | |[[28/27]] | ||
|[[Sycamore]]/[[Octaphore#2.3.7 Unicorn|Unicorn]] | |[[Sycamore]]/[[Octaphore#2.3.7 Unicorn|Unicorn]] | ||
| | |Bｷ = E𝄫 | ||
|Sycamore uses diatonic fifth, Unicorn uses antidiatonic fifth | |Sycamore uses diatonic fifth, Unicorn uses antidiatonic fifth | ||
|- | |- | ||
| Line 41: | Line 42: | ||
|[[17/16]] | |[[17/16]] | ||
|[[Passion]] | |[[Passion]] | ||
|Cｷ | |Cｷ = F𝄫 | ||
| | | | ||
|- | |- | ||
|4\37 | |4\37 | ||
|129.73 | |129.73 | ||
|[[14/13]] | |[[14/13]] | ||
| | |[[28812/28561#Cubical|Cubical]] | ||
| | |A𝄪 = Dd | ||
| | | Cubical uses antidiatonic fifth | ||
|- | |- | ||
|5\37 | |5\37 | ||
| Line 83: | Line 84: | ||
|[[13/11]], [[19/16]] | |[[13/11]], [[19/16]] | ||
| | | | ||
| | |F♭ | ||
| | | | ||
|- | |- | ||
| Line 90: | Line 91: | ||
|[[77/64]] | |[[77/64]] | ||
|[[Orgone]] | |[[Orgone]] | ||
|Dｷ | |Dｷ = G𝄫 | ||
| | |Probably better interpreted as 8/(sqrt11) | ||
|- | |- | ||
|11\37 | |11\37 | ||
| Line 97: | Line 98: | ||
|[[11/9]], [[16/13]] | |[[11/9]], [[16/13]] | ||
|[[Beatles]] | |[[Beatles]] | ||
| | |B𝄪 = Ed | ||
|Bisects the diatonic fifth | |Bisects the diatonic fifth | ||
|- | |- | ||
| Line 104: | Line 105: | ||
|[[5/4]] | |[[5/4]] | ||
|[[Würschmidt|Wuerschmidt]] | |[[Würschmidt|Wuerschmidt]] | ||
| | |C𝄪 = Fd | ||
| | | | ||
|- | |- | ||
| Line 132: | Line 133: | ||
|4/3- | |4/3- | ||
|[[Undecimation]] | |[[Undecimation]] | ||
| | |G♭ | ||
|Antidiatonic fourth | |Antidiatonic fourth | ||
|- | |- | ||
| Line 139: | Line 140: | ||
|[[11/8]] | |[[11/8]] | ||
|[[Emka]] | |[[Emka]] | ||
|Eｷ | |Eｷ = A𝄫 | ||
| | | | ||
|- | |- | ||
| Line 153: | Line 154: | ||
|[[10/7]] | |[[10/7]] | ||
| | | | ||
| | |D𝄪 = Gd | ||
| | | | ||
|- | |- | ||
| Line 181: | Line 182: | ||
|[[20/13]], [[14/9]] | |[[20/13]], [[14/9]] | ||
|Ammonite | |Ammonite | ||
| | |A♭ | ||
| | | | ||
|- | |- | ||
| Line 188: | Line 189: | ||
|[[11/7]] | |[[11/7]] | ||
|Lambeth | |Lambeth | ||
| | |B𝄫 | ||
| | | | ||
|- | |- | ||
| Line 195: | Line 196: | ||
|[[8/5]] | |[[8/5]] | ||
|Wuerschmidt | |Wuerschmidt | ||
|Gｷ | |Gｷ = C𝄫 | ||
| | | | ||
|- | |- | ||
| Line 202: | Line 203: | ||
|[[13/8]], [[18/11]] | |[[13/8]], [[18/11]] | ||
|Beatles | |Beatles | ||
| | |E𝄪 = Ad | ||
| | | | ||
|- | |- | ||
| Line 209: | Line 210: | ||
|[[128/77]] | |[[128/77]] | ||
|Orgone | |Orgone | ||
| | |F𝄪 | ||
| | |Probably better interpreted as (sqrt11)/2 | ||
|- | |- | ||
|28\37 | |28\37 | ||
| Line 223: | Line 224: | ||
|[[26/15]] | |[[26/15]] | ||
|Barbados | |Barbados | ||
| | |A | ||
| | | | ||
|- | |- | ||
|30\37 | | 30\37 | ||
|972.97 | |972.97 | ||
|[[7/4]], [[16/9]]+ | |[[7/4]], [[16/9]]+ | ||
| Line 233: | Line 234: | ||
|16/9 using diatonic fourths | |16/9 using diatonic fourths | ||
|- | |- | ||
|31\37 | | 31\37 | ||
|1005.41 | |1005.41 | ||
|16/9 | |16/9 | ||
| Line 244: | Line 245: | ||
|16/9-, [[20/11|9/5]] | |16/9-, [[20/11|9/5]] | ||
|Porcupine | |Porcupine | ||
| | |Aｷ = D𝄫 | ||
|16/9 using antidiatonic fourths | |16/9 using antidiatonic fourths | ||
|- | |- | ||
|33\37 | |33\37 | ||
|1070.27 | |1070.27 | ||
|[[ | |[[13/7]] | ||
| | | | ||
|Bd | |Bd | ||
| | | | ||
| Line 258: | Line 259: | ||
|[[32/17]] | |[[32/17]] | ||
|Passion | |Passion | ||
|Cd | |G𝄪 = Cd | ||
| | | | ||
|- | |- | ||
| Line 265: | Line 266: | ||
|[[27/14]] | |[[27/14]] | ||
|Sycamore/Unicorn | |Sycamore/Unicorn | ||
| | |A♯ | ||
| | | | ||
|- | |- | ||
|36\37 | |36\37 | ||
|1167.57 | |1167.57 | ||
|[[55/28 | |[[55/28]] | ||
| | | | ||
|B | |B | ||
| Line 282: | Line 283: | ||
| | | | ||
|} | |} | ||
===Notation=== | |||
The table above uses the Diatonic fifth as the basis for notation, following the standard Circle of Fifths with additional half-flats and half-sharps used to more concisely represent notes that would otherwise require triple or even quadruple flats and sharps. | |||
[[Ups and downs notation|Ups and Downs notation]] is also helpful for short accidentals; in a Blackdye piece that uses the antidiatonic 3/2, it may be helpful to notate that fifth as vG rather than F♯ to better indicate that it is being used as a perfect fifth rather than an augmented fourth. | |||
Additionally, [[Diamond MOS notation]] may be more useful than Circle of Fifths notation for describing structures that do not adhere closely to the Circle of Fifths, such as Orgone or Cubical. | |||