1953 scale: Difference between revisions
pretty sure the convention is to avoid using specialized names for edosteps, except for 1200edo |
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{{main|53edo|Kleismic MOSes}} | {{main|53edo|Kleismic MOSes}} | ||
The '''1953 scale''' is | The '''1953 scale''' is the name for the [[15L 4s]] [[kleismic]] "enharmonic" scale tuned in 53edo - it has 15 long intervals 3 53-edosteps wide, plus 4 short intervals 2 steps wide, and works best in 2.3.5.13. | ||
This scale offers a possible alternative to [[19edo|19edo]] as a way of expanding beyond 12edo. Unlike 19edo, whose fifths are all significantly flat, the 1953 scale has nearly perfect fifths, making it sound potentially more like 12edo. Its major thirds are also significantly better than those of 19edo. | This scale offers a possible alternative to [[19edo|19edo]] as a way of expanding beyond 12edo. Unlike 19edo, whose fifths are all significantly flat, the 1953 scale has nearly perfect fifths, making it sound potentially more like 12edo. Its major thirds are also significantly better than those of 19edo. | ||
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Although the abundance of wolf fifths might seem like a disadvantage, composers may use them strategically to add expression to a piece (as [https://en.wikipedia.org/wiki/Blue_note blue note]s). Another option is to use them as melodic intervals (in melodic lines or modulation) rather than played together harmonically, which lessens the unpleasant effect of the "wolfiness" and can also be used to add expression. | Although the abundance of wolf fifths might seem like a disadvantage, composers may use them strategically to add expression to a piece (as [https://en.wikipedia.org/wiki/Blue_note blue note]s). Another option is to use them as melodic intervals (in melodic lines or modulation) rather than played together harmonically, which lessens the unpleasant effect of the "wolfiness" and can also be used to add expression. | ||
One thing that 19edo and 53edo have in common is that both have near-just minor thirds; thus, using minor thirds to generate a 19-note scale in 53edo is a natural option. | |||
Because it has only nineteen notes, the 1953 scale is ideal for keyboard instruments (19-keys-per-octave pianos do exist and have been made for centuries, although they are less common than their 12-key cousins). The [[Skip fretting system 53 3 14]] for stringed instruments also makes this scale intuitively accessible using only the open strings and first four frets, while still allowing the full gamut of 53edo further up the neck. | Because it has only nineteen notes, the 1953 scale is ideal for keyboard instruments (19-keys-per-octave pianos do exist and have been made for centuries, although they are less common than their 12-key cousins). The [[Skip fretting system 53 3 14]] for stringed instruments also makes this scale intuitively accessible using only the open strings and first four frets, while still allowing the full gamut of 53edo further up the neck. | ||
This scale's 5-limit performance is amazing; in the 7-limit department it does not perform as well unless we choose to use a non-patent val for 7 (which tempers out the septimal | This scale's 5-limit performance is amazing; in the 7-limit department it does not perform as well unless we choose to use a non-patent val for 7 (which tempers out the septimal diesis [[49/48]], much as 19edo itself does). The harmonic seventh tetrad can only be voiced using this alternate val, but it's possible to voice the subminor triad (6:7:9) using the ''patent'' 7 as well. | ||
The eleventh harmonic does not appear (although this might not necessarily be a bad thing for those who consider it [[Naughty_and_nice_harmonics|naughty]]). The thirteenth harmonic does appear and the half-suspended triad 10:13:15 is common. This makes the 1953 scale an ideal scale for exploring the possibilities of the 13th harmonic alongside the more familiar 5 and 7, and it can be considered a tuning of the 3.5.7.13 subset. | The eleventh harmonic does not appear (although this might not necessarily be a bad thing for those who consider it [[Naughty_and_nice_harmonics|naughty]]). The thirteenth harmonic does appear and the half-suspended triad 10:13:15 is common. This makes the 1953 scale an ideal scale for exploring the possibilities of the 13th harmonic alongside the more familiar 5 and 7, and it can be considered a tuning of the 3.5.7.13 subset. | ||