5edo: Difference between revisions
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== Theory == | == Theory == | ||
{{Harmonics in equal|5}} | {{Harmonics in equal|5}} | ||
[[File:5edo scale.mp3|thumb|A chromatic 5edo scale on C.]] | |||
If 5edo is regarded as a temperament, which is to say as 5tet, then the most salient fact is that 16/15 is tempered out. This means in 5tet the major third and the fourth, and the minor sixth and the fifth, are not distinguished; this is 5-limit [[father]] temperament. | If 5edo is regarded as a temperament, which is to say as 5tet, then the most salient fact is that 16/15 is tempered out. This means in 5tet the major third and the fourth, and the minor sixth and the fifth, are not distinguished; this is 5-limit [[father]] temperament. | ||
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== Notation == | == Notation == | ||
* via Reinhard's cents notation | |||
* naturals on a five-line staff, with enharmonics (used interchangably) E=F and B=C | * naturals on a five-line staff, with enharmonics (used interchangably) E=F and B=C | ||
* a four-line hybrid treble/bass staff. | * a four-line hybrid treble/bass staff. | ||
[[Kite Giedraitis]] has proposed a pentatonic notation that retains the appearance of heptatonic names, to avoid the confusion caused by one's lifelong association of "fourth" with 4/3, not 3/2. The interval names are unisoid, subthird, fourthoid, fifthoid, subseventh and octoid, or 1d s3 4d 5d s7 8d. When notating larger edos such as 8 or 13, there are major or minor sub3rds and sub7ths. Note that 15/8 is an octoid. | [[Kite Giedraitis]] has proposed a pentatonic notation that retains the appearance of heptatonic names, to avoid the confusion caused by one's lifelong association of "fourth" with 4/3, not 3/2. The interval names are unisoid, subthird, fourthoid, fifthoid, subseventh and octoid, or 1d s3 4d 5d s7 8d. When notating larger edos such as 8 or 13, there are major or minor sub3rds and sub7ths. Note that 15/8 is an octoid. | ||
== Observations == | == Observations == | ||