User:Lhearne/15edo: Difference between revisions

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First implemented by R.M.A Kusumadinata (Sundra) somewhere between the 1930s and the 1960s and Augusto Novaro in 1951, 15edo saw it's most notable early use in 1991 by Easley Blackwood Jr. in his Opus 28, ''Twelve Microtonal Etudes for Electronic Music Media'' and Opus 33, ''Suite for Guitar in 15-note Equal Tuning''.

Along with the [[5L 5s|Blackwood Decatonic]], a 10-note scale named after Blackwood for it's use is his Opus 28, and his ensuing discussion of it in his accompanying paper, ''[https://www.jstor.org/stable/833437 Modes and Chord Progressions in Equal Tunings],'' ~~released~~ in the same year, 15edo is commonly associated with Porcupine Temperament, who's 7 and 8 note MOS scales are reasonably popular around these parts.

Along with the [[5L 5s|Blackwood Decatonic]], a 10-note scale named after Blackwood for it's use is his Opus 28, and his ensuing discussion of it in his accompanying paper, ''[https://www.jstor.org/stable/833437 Modes and Chord Progressions in Equal Tunings]'', published in the same year, 15edo is commonly associated with [[Porcupine Temperament Modal Harmony|Porcupine Temperament]], who's 7 and 8 note MOS scales are reasonably popular around these parts.

=Intervals=

Relative to 12edo, 15edo maintains some categorically-similar intervals, particularly the 3rds, 4ths, 5ths, and 6ths, but is quite different in the categories of 2nds and 7ths. The closest intervals it has to a 12edo [[wikipedia:Major_second|whole-tone]] are both 40 cents sharp or flat of the 200-cent 12edo whole-tone. This makes it rather difficult to translate traditional diatonic melodic approaches into 15edo, and also means that things like 7th, 9th, and 11th chords will behave very differently, even though major and minor triads are still relatively familiar-sounding.

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 First implemented by R.M.A Kusumadinata (Sundra) somewhere between the 1930s and the 1960s and Augusto Novaro in 1951, 15edo saw it's most notable early use in 1991 by Easley Blackwood Jr. in his Opus 28, ''Twelve Microtonal Etudes for Electronic Music Media'' and Opus 33, ''Suite for Guitar in 15-note Equal Tuning''.
-Along with the [[5L 5s|Blackwood Decatonic]], a 10-note scale named after Blackwood for it's use is his Opus 28, and his ensuing discussion of it in his accompanying paper, ''[https://www.jstor.org/stable/833437 Modes and Chord Progressions in Equal Tunings],'' released in the same year, 15edo is commonly associated with Porcupine Temperament, who's 7 and 8 note MOS scales are reasonably popular around these parts.
+Along with the [[5L 5s|Blackwood Decatonic]], a 10-note scale named after Blackwood for it's use is his Opus 28, and his ensuing discussion of it in his accompanying paper, ''[https://www.jstor.org/stable/833437 Modes and Chord Progressions in Equal Tunings]'', published in the same year, 15edo is commonly associated with [[Porcupine Temperament Modal Harmony|Porcupine Temperament]], who's 7 and 8 note MOS scales are reasonably popular around these parts.
 =Intervals=
 Relative to 12edo, 15edo maintains some categorically-similar intervals, particularly the 3rds, 4ths, 5ths, and 6ths, but is quite different in the categories of 2nds and 7ths.  The closest intervals it has to a 12edo [[wikipedia:Major_second|whole-tone]] are both 40 cents sharp or flat of the 200-cent 12edo whole-tone.  This makes it rather difficult to translate traditional diatonic melodic approaches into 15edo, and also means that things like 7th, 9th, and 11th chords will behave very differently, even though major and minor triads are still relatively familiar-sounding.