User:Godtone: Difference between revisions

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* [[1L 6s]] I find significant as a 7-note scale underlying all nL1s scales for n>=7. I have named it "onyx", which has a variety of aesthetic reasonings for it: "1Ln-ic's" and "nL1-ic's (like, the -ic suffix applied to MOSS names, collectivised for 1Lns and nL1s) sounds like "one-el-en-ics" or "en-el-one-ics" which abbreviated sort of sounds like "one-ics" => "onyx". Then "onyx" sounds sort of like "one-six". Furthermore the onyx mineral comes in many colours and types, which seems fitting given this is the parent scale for a wide variety of MOSSes; specifically of interest being [[7L 1s]] (pine), [[8L 1s]] (subneutralic) and [[9L 1s]] (sinatonic). Finally, the name "onyx" is also supposed to be vaguely reminiscent of "anti-archaeotonic" as "chi" (the greek letter) is written like an "x" (this is related to why "christmas" is abbreviated sometimes as "X-mas") and other than that, the letters "o" and "n" and their sounds are also present in "archaeotonic", and "x" is vaguely reminiscent of negation and multiplication. There is also something like a "y" sound in "archaeotonic" in the "aeo" part (depending partially on your pronounciation).

* [[4L 3s]] I noticed is unique in that out of [[1L 6s]], [[2L 5s]], [[3L 4s]], [[4L 3s]] and [[5L 2s]] it is the only MOSS pattern that doesn't have both of its child MOSSes named and included. Note that it makes sense to make an exception for [[6L 1s]] as the large number of large steps and small number of small steps makes the range of valid tunings for the generator(s) the most strict of all the 7-note MOSSes. Anyway, as generators close to 6/5 corresponding to [[kleismic]] temperament seem to be of especial importance for this MOSS, I consider the [[4L 7s]] pattern important enough to be named, and it had a proposed name of "kleistonic", a name I think is fitting. As a result, [[7L 4s]] could be named "anti-kleistonic", but I think its actually sort of the more natural extension of the [[4L 3s]] scale pattern which has sharper minor thirds in less complex tunings, hence I've opted for naming it "suprasmitonic" instead after its (and to a lesser extent smitonic's) supraminor third generator AKA "sharp minor third" - the origin of the name "smitonic". Note that another reason I think [[4L 7s]] is worth distinguishing and naming is because kleismic temperaments tend to need both more generators and very hard tunings for [[4L 3s]], as evidenced by the basic tuning of [[~~11 EDO~~]] being way too sharp for kleismic and the hard tuning of [[~~15 EDO~~]] being the sharpest kleismic that could ever make some sense (as it requires, for instance, accepting 720c as an approximation of 3/2 and 400c as an approximation of 5/4). The interval prefixes/abbreviations for [[7L 4s]] are "ssmi" to show preference in comparing it to the underlying [[4L 3s]] scale and as a shortenage of "sharp supraminor third" and "suprasmitonic" correspondingly.

* [[4L 3s]] I noticed is unique in that out of [[1L 6s]], [[2L 5s]], [[3L 4s]], [[4L 3s]] and [[5L 2s]] it is the only MOSS pattern that doesn't have both of its child MOSSes named and included. Note that it makes sense to make an exception for [[6L 1s]] as the large number of large steps and small number of small steps makes the range of valid tunings for the generator(s) the most strict of all the 7-note MOSSes. Anyway, as generators close to 6/5 corresponding to [[kleismic]] temperament seem to be of especial importance for this MOSS, I consider the [[4L 7s]] pattern important enough to be named, and it had a proposed name of "kleistonic", a name I think is fitting. As a result, [[7L 4s]] could be named "anti-kleistonic", but I think its actually sort of the more natural extension of the [[4L 3s]] scale pattern which has sharper minor thirds in less complex tunings, hence I've opted for naming it "suprasmitonic" instead after its (and to a lesser extent smitonic's) supraminor third generator AKA "sharp minor third" - the origin of the name "smitonic". Note that another reason I think [[4L 7s]] is worth distinguishing and naming is because kleismic temperaments tend to need both more generators and very hard tunings for [[4L 3s]], as evidenced by the basic tuning of [[11edo]] being way too sharp for kleismic and the hard tuning of [[15edo]] being the sharpest kleismic that could ever make some sense (as it requires, for instance, accepting 720c as an approximation of 3/2 and 400c as an approximation of 5/4). The interval prefixes/abbreviations for [[7L 4s]] are "ssmi" to show preference in comparing it to the underlying [[4L 3s]] scale and as a shortenage of "sharp supraminor third" and "suprasmitonic" correspondingly.

* I gave names for the interval prefixes and interval name abbreviations for [[5L 7s]] (p-chromatic) and [[7L 5s]] (m-chromatic). For [[7L 5s]] I picked "chrome" as it is strongly befitting of meantone as meantone does the 7-limit efficiently, elegantly and colourfully, and because its a contraction of "chromatic" and the "me" in "meantone". Pronounced like the word. For [[5L 7s]], in contrast with [[5L 7s]] which is mellow and harmonic, [[5L 7s]] is sharp and active, perhaps like fire, hence I picked "pyr-" from "pyro" and from "[py]thago[r]ean", with the "p" of course also being for "[p]ara[p]yth" and "su[p]er[p]yth".

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 * [[1L 6s]] I find significant as a 7-note scale underlying all nL1s scales for n>=7. I have named it "onyx", which has a variety of aesthetic reasonings for it: "1Ln-ic's" and "nL1-ic's (like, the -ic suffix applied to MOSS names, collectivised for 1Lns and nL1s) sounds like "one-el-en-ics" or "en-el-one-ics" which abbreviated sort of sounds like "one-ics" => "onyx". Then "onyx" sounds sort of like "one-six". Furthermore the onyx mineral comes in many colours and types, which seems fitting given this is the parent scale for a wide variety of MOSSes; specifically of interest being [[7L 1s]] (pine), [[8L 1s]] (subneutralic) and [[9L 1s]] (sinatonic). Finally, the name "onyx" is also supposed to be vaguely reminiscent of "anti-archaeotonic" as "chi" (the greek letter) is written like an "x" (this is related to why "christmas" is abbreviated sometimes as "X-mas") and other than that, the letters "o" and "n" and their sounds are also present in "archaeotonic", and "x" is vaguely reminiscent of negation and multiplication. There is also something like a "y" sound in "archaeotonic" in the "aeo" part (depending partially on your pronounciation).
-* [[4L 3s]] I noticed is unique in that out of [[1L 6s]], [[2L 5s]], [[3L 4s]], [[4L 3s]] and [[5L 2s]] it is the only MOSS pattern that doesn't have both of its child MOSSes named and included. Note that it makes sense to make an exception for [[6L 1s]] as the large number of large steps and small number of small steps makes the range of valid tunings for the generator(s) the most strict of all the 7-note MOSSes. Anyway, as generators close to 6/5 corresponding to [[kleismic]] temperament seem to be of especial importance for this MOSS, I consider the [[4L 7s]] pattern important enough to be named, and it had a proposed name of "kleistonic", a name I think is fitting. As a result, [[7L 4s]] could be named "anti-kleistonic", but I think its actually sort of the more natural extension of the [[4L 3s]] scale pattern which has sharper minor thirds in less complex tunings, hence I've opted for naming it "suprasmitonic" instead after its (and to a lesser extent smitonic's) supraminor third generator AKA "sharp minor third" - the origin of the name "smitonic". Note that another reason I think [[4L 7s]] is worth distinguishing and naming is because kleismic temperaments tend to need both more generators and very hard tunings for [[4L 3s]], as evidenced by the basic tuning of [[11 EDO]] being way too sharp for kleismic and the hard tuning of [[15 EDO]] being the sharpest kleismic that could ever make some sense (as it requires, for instance, accepting 720c as an approximation of 3/2 and 400c as an approximation of 5/4). The interval prefixes/abbreviations for [[7L 4s]] are "ssmi" to show preference in comparing it to the underlying [[4L 3s]] scale and as a shortenage of "sharp supraminor third" and "suprasmitonic" correspondingly.
+* [[4L 3s]] I noticed is unique in that out of [[1L 6s]], [[2L 5s]], [[3L 4s]], [[4L 3s]] and [[5L 2s]] it is the only MOSS pattern that doesn't have both of its child MOSSes named and included. Note that it makes sense to make an exception for [[6L 1s]] as the large number of large steps and small number of small steps makes the range of valid tunings for the generator(s) the most strict of all the 7-note MOSSes. Anyway, as generators close to 6/5 corresponding to [[kleismic]] temperament seem to be of especial importance for this MOSS, I consider the [[4L 7s]] pattern important enough to be named, and it had a proposed name of "kleistonic", a name I think is fitting. As a result, [[7L 4s]] could be named "anti-kleistonic", but I think its actually sort of the more natural extension of the [[4L 3s]] scale pattern which has sharper minor thirds in less complex tunings, hence I've opted for naming it "suprasmitonic" instead after its (and to a lesser extent smitonic's) supraminor third generator AKA "sharp minor third" - the origin of the name "smitonic". Note that another reason I think [[4L 7s]] is worth distinguishing and naming is because kleismic temperaments tend to need both more generators and very hard tunings for [[4L 3s]], as evidenced by the basic tuning of [[11edo]] being way too sharp for kleismic and the hard tuning of [[15edo]] being the sharpest kleismic that could ever make some sense (as it requires, for instance, accepting 720c as an approximation of 3/2 and 400c as an approximation of 5/4). The interval prefixes/abbreviations for [[7L 4s]] are "ssmi" to show preference in comparing it to the underlying [[4L 3s]] scale and as a shortenage of "sharp supraminor third" and "suprasmitonic" correspondingly.
 * I gave names for the interval prefixes and interval name abbreviations for [[5L 7s]] (p-chromatic) and [[7L 5s]] (m-chromatic). For [[7L 5s]] I picked "chrome" as it is strongly befitting of meantone as meantone does the 7-limit efficiently, elegantly and colourfully, and because its a contraction of "chromatic" and the "me" in "meantone". Pronounced like the word. For [[5L 7s]], in contrast with [[5L 7s]] which is mellow and harmonic, [[5L 7s]] is sharp and active, perhaps like fire, hence I picked "pyr-" from "pyro" and from "[py]thago[r]ean", with the "p" of course also being for "[p]ara[p]yth" and "su[p]er[p]yth".