22edo: Difference between revisions
Wikispaces>xenwolf **Imported revision 148250567 - Original comment: ** |
Wikispaces>hstraub **Imported revision 152558487 - Original comment: ** |
||
| Line 1: | Line 1: | ||
<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User: | : This revision was by author [[User:hstraub|hstraub]] and made on <tt>2010-07-14 04:45:27 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>152558487</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
| Line 16: | Line 16: | ||
The idea of dividing the octave into 22 steps of equal size seems to have originated with nineteenth century music theorist RHM Bosanquet. Inspired by the division of the octave into 22 unequal parts in the [[Indian|music theory of India]], Bosenquet noted that such an equal division was capable of representing 5-limit music with tolerable accuracy. In this he was followed in the twentieth century by theorist José Würschmidt, who noted it as a possible next step after [[19edo|19 equal temperament]], and J. Murray Barbour in his classic survey of tuning history, ''Tuning and Temperament''. | The idea of dividing the octave into 22 steps of equal size seems to have originated with nineteenth century music theorist RHM Bosanquet. Inspired by the division of the octave into 22 unequal parts in the [[Indian|music theory of India]], Bosenquet noted that such an equal division was capable of representing 5-limit music with tolerable accuracy. In this he was followed in the twentieth century by theorist José Würschmidt, who noted it as a possible next step after [[19edo|19 equal temperament]], and J. Murray Barbour in his classic survey of tuning history, ''Tuning and Temperament''. | ||
The 22-et system is in fact the third equal division, after 12 and 19, which is capable of tolerably dealing with [[Harmonic Limit|5-limit]] | The 22-et system is in fact the third equal division, after 12 and 19, which is capable of tolerably dealing with [[Harmonic Limit|5-limit]] music. However, there is more to it than that; unlike 12 or 19 it is able to do rough justice to the 7- and 11-limits. While [[31edo|31 equal temperament]] does much better, 22-et at least allows the use of these higher-limit harmonies. Moreover, 22-et, unlike 12 and [[19edo|19]], is not a [[Regular Temperaments#meantone|meantone]] system. The net effect is that 22 allows, and to some extent even forces, the exploration of less familiar musical territory, yet is small enough that it can be used in live performances with suitably designed instruments, such as 22-tone guitars and the like. | ||
See also: [[22edo Solfege]], [[22edo Tetrachords]], [[22edo Modes]] | See also: [[22edo Solfege]], [[22edo Tetrachords]], [[22edo Modes]] | ||
| Line 51: | Line 51: | ||
[[http://lumma.org/music/theory/tctmo/glassic.mp3|Glassic]] by Paul Erlich and [[Ara Sarkissian]] | [[http://lumma.org/music/theory/tctmo/glassic.mp3|Glassic]] by Paul Erlich and [[Ara Sarkissian]] | ||
[[http://lumma.org/tuning/erlich/decatonic-swing.mp3|Decatonic Swing]] by Paul Erlich and Ara Sarkissian (jazz) | [[http://lumma.org/tuning/erlich/decatonic-swing.mp3|Decatonic Swing]] by Paul Erlich and Ara Sarkissian (jazz) | ||
[[http://soundclick.com/share?songid=5683765|Dragged by a Storm Across the Desert Years]] by [[ | [[http://soundclick.com/share?songid=5683765|Dragged by a Storm Across the Desert Years]] by [[IgliashonJones|Igliashon Jones]] (synth with electric guitar) | ||
Numerology by Iglashion Jones (progressive metal) | Numerology by Iglashion Jones (progressive metal) | ||
Revenge of the inorganic compounds by Iglashion Jones (progressive metal) | Revenge of the inorganic compounds by Iglashion Jones (progressive metal) | ||
| Line 70: | Line 70: | ||
The idea of dividing the octave into 22 steps of equal size seems to have originated with nineteenth century music theorist RHM Bosanquet. Inspired by the division of the octave into 22 unequal parts in the <a class="wiki_link" href="/Indian">music theory of India</a>, Bosenquet noted that such an equal division was capable of representing 5-limit music with tolerable accuracy. In this he was followed in the twentieth century by theorist José Würschmidt, who noted it as a possible next step after <a class="wiki_link" href="/19edo">19 equal temperament</a>, and J. Murray Barbour in his classic survey of tuning history, ''Tuning and Temperament''.<br /> | The idea of dividing the octave into 22 steps of equal size seems to have originated with nineteenth century music theorist RHM Bosanquet. Inspired by the division of the octave into 22 unequal parts in the <a class="wiki_link" href="/Indian">music theory of India</a>, Bosenquet noted that such an equal division was capable of representing 5-limit music with tolerable accuracy. In this he was followed in the twentieth century by theorist José Würschmidt, who noted it as a possible next step after <a class="wiki_link" href="/19edo">19 equal temperament</a>, and J. Murray Barbour in his classic survey of tuning history, ''Tuning and Temperament''.<br /> | ||
<br /> | <br /> | ||
The 22-et system is in fact the third equal division, after 12 and 19, which is capable of tolerably dealing with <a class="wiki_link" href="/Harmonic%20Limit">5-limit</a> | The 22-et system is in fact the third equal division, after 12 and 19, which is capable of tolerably dealing with <a class="wiki_link" href="/Harmonic%20Limit">5-limit</a> music. However, there is more to it than that; unlike 12 or 19 it is able to do rough justice to the 7- and 11-limits. While <a class="wiki_link" href="/31edo">31 equal temperament</a> does much better, 22-et at least allows the use of these higher-limit harmonies. Moreover, 22-et, unlike 12 and <a class="wiki_link" href="/19edo">19</a>, is not a <a class="wiki_link" href="/Regular%20Temperaments#meantone">meantone</a> system. The net effect is that 22 allows, and to some extent even forces, the exploration of less familiar musical territory, yet is small enough that it can be used in live performances with suitably designed instruments, such as 22-tone guitars and the like.<br /> | ||
<br /> | <br /> | ||
See also: <a class="wiki_link" href="/22edo%20Solfege">22edo Solfege</a>, <a class="wiki_link" href="/22edo%20Tetrachords">22edo Tetrachords</a>, <a class="wiki_link" href="/22edo%20Modes">22edo Modes</a><br /> | See also: <a class="wiki_link" href="/22edo%20Solfege">22edo Solfege</a>, <a class="wiki_link" href="/22edo%20Tetrachords">22edo Tetrachords</a>, <a class="wiki_link" href="/22edo%20Modes">22edo Modes</a><br /> | ||
| Line 105: | Line 105: | ||
<a class="wiki_link_ext" href="http://lumma.org/music/theory/tctmo/glassic.mp3" rel="nofollow">Glassic</a> by Paul Erlich and <a class="wiki_link" href="/Ara%20Sarkissian">Ara Sarkissian</a><br /> | <a class="wiki_link_ext" href="http://lumma.org/music/theory/tctmo/glassic.mp3" rel="nofollow">Glassic</a> by Paul Erlich and <a class="wiki_link" href="/Ara%20Sarkissian">Ara Sarkissian</a><br /> | ||
<a class="wiki_link_ext" href="http://lumma.org/tuning/erlich/decatonic-swing.mp3" rel="nofollow">Decatonic Swing</a> by Paul Erlich and Ara Sarkissian (jazz)<br /> | <a class="wiki_link_ext" href="http://lumma.org/tuning/erlich/decatonic-swing.mp3" rel="nofollow">Decatonic Swing</a> by Paul Erlich and Ara Sarkissian (jazz)<br /> | ||
<a class="wiki_link_ext" href="http://soundclick.com/share?songid=5683765" rel="nofollow">Dragged by a Storm Across the Desert Years</a> by <a class="wiki_link" href="/ | <a class="wiki_link_ext" href="http://soundclick.com/share?songid=5683765" rel="nofollow">Dragged by a Storm Across the Desert Years</a> by <a class="wiki_link" href="/IgliashonJones">Igliashon Jones</a> (synth with electric guitar)<br /> | ||
Numerology by Iglashion Jones (progressive metal)<br /> | Numerology by Iglashion Jones (progressive metal)<br /> | ||
Revenge of the inorganic compounds by Iglashion Jones (progressive metal)<br /> | Revenge of the inorganic compounds by Iglashion Jones (progressive metal)<br /> | ||