Ed4/3: Difference between revisions
Centered the article on 4/3 (removed content about 15/11 and 7/5 can be recovered from the page history if necessary) |
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The utility of the fourth as a base is apparent by being used at the base of so much Neo-Medieval harmony. Many, though not all, of these scales have a pseudo (false) octave, with various degrees of accuracy, but which context(s), if any, it is very perceptually important in is as yet an open question. | The utility of the fourth as a base is apparent by being used at the base of so much Neo-Medieval harmony. Many, though not all, of these scales have a pseudo (false) octave, with various degrees of accuracy, but which context(s), if any, it is very perceptually important in is as yet an open question. | ||
Incidentally, one way to treat 4/3 as an equivalence is the use of the 12:13:14:(16) 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 (an octave-reduced stack of) four 3/2 to get to 5/ | Incidentally, one way to treat 4/3 as an equivalence is the use of the 12:13:14:(16) 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 (an octave-reduced stack of) four [[3/2]] to get to [[5/4]], here it takes (a fourth-reduced stack of) eight [[7/6]] to get to [[13/12]] (tempering out the comma [[5764801/5750784]]). So, doing this yields 13, 15, and 28 note [[MOS scale]]s for ed4/3s. While the notes are rather closer together, the scheme is uncannily similar to meantone. | ||
== Individual pages for ed4/3s == | == Individual pages for ed4/3s == | ||