Prime equal division: Difference between revisions
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* There is ''no fully symmetric chord'' (such as the diminished seventh chord in [[12edo]]). | * There is ''no fully symmetric chord'' (such as the diminished seventh chord in [[12edo]]). | ||
* Excepting the scale comprising all notes of the tuning, there is no absolutely uniform scale that repeats at the equave (such as the whole tone scale in 12edo, which only has whole steps and repeats at the octave). | * Excepting the scale comprising all notes of the tuning, there is no absolutely uniform scale that repeats at the equave (such as the whole tone scale in 12edo, which only has whole steps and repeats at the octave). | ||
* There are no {{w|modes of limited transposition}}, such as used by the composer Olivier Messiaen. | * There are no {{w|mode of limited transposition|modes of limited transposition}}, such as used by the composer Olivier Messiaen. | ||
* There is no support for rank-2 temperaments whose period is a fraction of the equave (all octave-periodic temperaments are ''linear'' temperaments). | * There is no support for rank-2 temperaments whose period is a fraction of the equave (all octave-periodic temperaments are ''linear'' temperaments). | ||
* Making a chain of any interval of the ''n''-equal division, one can reach every tone in ''n'' steps. (For composite edos, this works with intervals that are co-prime to ''n'', for example, 5 degrees of 12edo). | * Making a chain of any interval of the ''n''-equal division, one can reach every tone in ''n'' steps. (For composite edos, this works with intervals that are co-prime to ''n'', for example, 5 degrees of 12edo). | ||