Bozuji tuning: Difference between revisions

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== Interval Base ==

The basis for the tuning is the [[~~Diatonic, chromatic, enharmonic, subchromatic~~|diatonic scale]]. Using seven notes as a rough framework to step through a scale and ultimately get to a perfect octave. The rough intervals are simply those given by classical western music theory scale degrees: unison (1), the second (2), the third (3), the fourth (4), the fifth (5), the sixth (6), and the seventh (7). The octave is taken for granted as exactly double the frequency of unison, and then the scale repeats the same intervals from there, such that the ninth is equivalent to the second, the tenth is equivalent to the third, and so on.

The basis for the tuning is the [[diatonic|diatonic scale]]. Using seven notes as a rough framework to step through a scale and ultimately get to a perfect octave. The rough intervals are simply those given by classical western music theory scale degrees: unison (1), the second (2), the third (3), the fourth (4), the fifth (5), the sixth (6), and the seventh (7). The octave is taken for granted as exactly double the frequency of unison, and then the scale repeats the same intervals from there, such that the ninth is equivalent to the second, the tenth is equivalent to the third, and so on.

This approach considers three general kinds of scale degrees: reference, perfect, and imperfect.

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 == Interval Base ==
-The basis for the tuning is the [[Diatonic, chromatic, enharmonic, subchromatic|diatonic scale]].  Using seven notes as a rough framework to step through a scale and ultimately get to a perfect octave.  The rough intervals are simply those given by classical western music theory scale degrees: unison (1), the second (2), the third (3), the fourth (4), the fifth (5), the sixth (6), and the seventh (7).  The octave is taken for granted as exactly double the frequency of unison, and then the scale repeats the same intervals from there, such that the ninth is equivalent to the second, the tenth is equivalent to the third, and so on.
+The basis for the tuning is the [[diatonic|diatonic scale]].  Using seven notes as a rough framework to step through a scale and ultimately get to a perfect octave.  The rough intervals are simply those given by classical western music theory scale degrees: unison (1), the second (2), the third (3), the fourth (4), the fifth (5), the sixth (6), and the seventh (7).  The octave is taken for granted as exactly double the frequency of unison, and then the scale repeats the same intervals from there, such that the ninth is equivalent to the second, the tenth is equivalent to the third, and so on.
 This approach considers three general kinds of scale degrees: reference, perfect, and imperfect.