Ed5/3: Difference between revisions

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Incidentally, one way to treat 5/3 or 11/7 as an equivalence is the use of the 6:7:8:(10) or 7:8:9:(11) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes four 4/3 to get to 8/7 (tempering out the comma 225/224) or four 9/7 to get to 9/8 (tempering out the comma 5929/5832). So, doing this yields 7, 9, and 16 note MOS either way, the 16 note MOS of the two temperaments being mirror images of each other (7L 9s for ed(5/3)s vs 9L 7s for ed(11/7)s). While the notes are rather closer together, the scheme is uncannily similar to meantone. "Microdiatonic" might be a good term for it (even better than for edfs as the generator it uses is an excellent fit for heptatonic MOS) if it hasn't been named yet.

[[Category:Equal-step tuning]]

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	Incidentally, one way to treat 5/3 or 11/7 as an equivalence is the use of the 6:7:8:(10) or 7:8:9:(11) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes four 4/3 to get to 8/7 (tempering out the comma 225/224) or four 9/7 to get to 9/8 (tempering out the comma 5929/5832). So, doing this yields 7, 9, and 16 note MOS either way, the 16 note MOS of the two temperaments being mirror images of each other (7L 9s for ed(5/3)s vs 9L 7s for ed(11/7)s). While the notes are rather closer together, the scheme is uncannily similar to meantone. "Microdiatonic" might be a good term for it (even better than for edfs as the generator it uses is an excellent fit for heptatonic MOS) if it hasn't been named yet.		Incidentally, one way to treat 5/3 or 11/7 as an equivalence is the use of the 6:7:8:(10) or 7:8:9:(11) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes four 4/3 to get to 8/7 (tempering out the comma 225/224) or four 9/7 to get to 9/8 (tempering out the comma 5929/5832). So, doing this yields 7, 9, and 16 note MOS either way, the 16 note MOS of the two temperaments being mirror images of each other (7L 9s for ed(5/3)s vs 9L 7s for ed(11/7)s). While the notes are rather closer together, the scheme is uncannily similar to meantone. "Microdiatonic" might be a good term for it (even better than for edfs as the generator it uses is an excellent fit for heptatonic MOS) if it hasn't been named yet.

			[[Category:Equal-step tuning]]