91edo: Difference between revisions
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== Notation == | == Notation == | ||
=== Ups and downs notation === | === Ups and downs notation === | ||
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[[User:Eliora|Eliora]], who believes the diatonic way of naming intervals in 91edo is not useful due to the fact that other temperaments and techniques for 91edo are more prominent, proposes a way of naming that merges the factors 7 and 13—7 equidistant notes are named do, re, mi, and 13 are named by some other virtue. The proposition is to use Old Slavic letter names, since no one uses them for naming or in mathematics. The {{nowrap|7 + 13}} naming convention can be called a duality notation. Intervals can be named through Latin ones for the 7-note scale, and Greek ones for the 13-note. | [[User:Eliora|Eliora]], who believes the diatonic way of naming intervals in 91edo is not useful due to the fact that other temperaments and techniques for 91edo are more prominent, proposes a way of naming that merges the factors 7 and 13—7 equidistant notes are named do, re, mi, and 13 are named by some other virtue. The proposition is to use Old Slavic letter names, since no one uses them for naming or in mathematics. The {{nowrap|7 + 13}} naming convention can be called a duality notation. Intervals can be named through Latin ones for the 7-note scale, and Greek ones for the 13-note. | ||
{| class="wikitable mw-collapsible" | {| class="wikitable center-1 mw-collapsible mw-collapsed" | ||
|+ style="font-size: 105%; white-space: nowrap;" | Table of intervals in 91edo | |+ style="font-size: 105%; white-space: nowrap;" | Table of intervals in 91edo | ||
|- | |- | ||
! | ! # | ||
! Eliora's naming system | |||
! Eliora's | ! Eliora's notation | ||
! Eliora's | ! Associated ratio | ||
! Associated | |||
|- | |- | ||
| 0 | | 0 | ||
| unison<br | | unison<br>perfect prime <br>perfect prota | ||
| A <br />Az (А) | | A <br />Az (А) | ||
| [[1/1]] | | [[1/1]] | ||
|- | |- | ||
| 1 | | 1 | ||
| major prime <br | | major prime <br>major prota | ||
| A# <br | | A# <br>Az# | ||
| [[1728/1715]] | | [[1728/1715]] | ||
|- | |- | ||
| Line 229: | Line 227: | ||
|- | |- | ||
| 13 | | 13 | ||
| neutral secunde <br | | neutral secunde <br>minor tritia | ||
| B<br | | B<br>Vedi♭ | ||
| [[11/10]] | | [[11/10]] | ||
|- | |- | ||
| Line 294: | Line 292: | ||
|- | |- | ||
| 26 | | 26 | ||
| neutral tertie <br | | neutral tertie <br>diminished pemptia | ||
| C <br | | C <br>Dobro♭♭ | ||
| [[11/9]] | | [[11/9]] | ||
|- | |- | ||
| 27 | | 27 | ||
| major tertie <br | | major tertie <br>minor pemptia | ||
| C# <br />Dobro♭ | | C# <br />Dobro♭ | ||
| [[16/13]], 27/22 | | [[16/13]], 27/22 | ||
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|- | |- | ||
| 39 | | 39 | ||
| neutral quarte <br | | neutral quarte <br>bidiminished hebdomia | ||
| D<br | | D<br>Zhivete♭♭♭ | ||
| | | | ||
|- | |- | ||
| Line 424: | Line 422: | ||
|- | |- | ||
| 54 | | 54 | ||
| augmented quinte <br | | augmented quinte <br>diminished ennatia | ||
| E## <br | | E## <br>Zemle♭♭ | ||
| [[256/169]] | | [[256/169]] | ||
|- | |- | ||
| Line 444: | Line 442: | ||
|- | |- | ||
| 64 | | 64 | ||
| major decatia <br | | major decatia <br>minor sexte | ||
| Izhe# <br | | Izhe# <br>F♭ | ||
| | | | ||
|- | |- | ||
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|- | |- | ||
| 91 | | 91 | ||
| perfect octave <br | | perfect octave <br>perfect decatotetartia | ||
| A<br | | A<br>Az (А) | ||
| [[2/1]] exact | | [[2/1]] exact | ||
|} | |} | ||