91edo: Difference between revisions
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== | == Intervals == | ||
Eliora, who believes the diatonic way of naming intervals in 91edo is not useful due to the fact that other temperaments and techniques for 91edo are more prominent, proposes a way of naming that merges the factors 7 and 13 - 7 equidistant notes are named do, re, mi, and 13 are named by some other virtue. The proposition is to use Old Slavic letter names, since no one uses them for naming or in mathematics. The 7 + 13 naming convention can be called a duality notation. Intervals can be named through Latin ones for the 7-note scale, and Greek ones for the 13-note. | Eliora, who believes the diatonic way of naming intervals in 91edo is not useful due to the fact that other temperaments and techniques for 91edo are more prominent, proposes a way of naming that merges the factors 7 and 13 - 7 equidistant notes are named do, re, mi, and 13 are named by some other virtue. The proposition is to use Old Slavic letter names, since no one uses them for naming or in mathematics. The 7 + 13 naming convention can be called a duality notation. Intervals can be named through Latin ones for the 7-note scale, and Greek ones for the 13-note. | ||
| Line 59: | Line 59: | ||
! Associated Ratio | ! Associated Ratio | ||
|- | |- | ||
|0 | |0 | ||
|unison | |unison <br>perfect prime <br>perfect prota | ||
|C | |C <br>Az (А) | ||
|[[1/1]] | |[[1/1]] | ||
|- | |- | ||
|1 | |1 | ||
|major prime | |major prime <br>major prota | ||
|C# | |C# <br>Az# | ||
| | | | ||
|- | |||
|2 | |||
|augmented prota | |||
|Az## | |||
| | |||
|- | |||
|3 | |||
|biaugmented prota | |||
|Az### | |||
| | |||
|- | |||
|4 | |||
|bidiminished deiteria | |||
|Buki♭♭♭ | |||
| | |||
|- | |||
|5 | |||
|diminished deiteria | |||
|Buki♭♭ | |||
| | |||
|- | |||
|6 | |||
|minor deiteria | |||
|Buki♭ | |||
| | |||
|- | |- | ||
|7 | |7 | ||
|neutral deiteria | |neutral deiteria | ||
|Buki | |Buki (Б) | ||
| | | | ||
|- | |||
|8 | |||
|major deiteria | |||
|Buki# | |||
| | |||
|- | |||
|9 | |||
|augmented deiteria | |||
|Buki## | |||
| | |||
|- | |||
|10 | |||
|biaugmented deiteria | |||
|Buki### | |||
| | |||
|- | |||
|11 | |||
|bidiminished tritia | |||
|Vedi♭♭♭ | |||
|[[13/12]], [[12/11]] | |||
|- | |||
|12 | |||
|diminished tritia | |||
|Vedi♭♭ | |||
| | |||
|- | |- | ||
|13 | |13 | ||
|neutral secunde | |neutral secunde <br>minor tritia | ||
|D | |D <br>Vedi♭ | ||
| | |[[11/10]] | ||
|- | |- | ||
|14 | |14 | ||
|neural tritia | |neural tritia | ||
|Vedi | |Vedi (В) | ||
| | |[[10/9]] | ||
|- | |||
|15 | |||
|major tritia | |||
|Vedi# | |||
|[[9/8]] | |||
|- | |||
|16 | |||
|augmented tritia | |||
|Vedi## | |||
| | |||
|- | |||
|17 | |||
|biaugmented tritia | |||
|Vedi### | |||
| | |||
|- | |||
|18 | |||
|bidiminished tesseria | |||
|Glagol♭♭♭ | |||
|[[8/7]] | |||
|- | |||
|19 | |||
|diminished tesseria | |||
|Glagol♭♭ | |||
| | |||
|- | |- | ||
|20 | |20 | ||
|minor tesseria | |minor tesseria | ||
|Glagol♭ | |Glagol♭ | ||
|[[7/6]] | |[[7/6]] | ||
|- | |- | ||
|21 | |21 | ||
|neutral tesseria | |neutral tesseria | ||
|Glagol | |Glagol (Г) | ||
| | | | ||
|- | |||
|22 | |||
|major tesseria | |||
|Glagol# | |||
|[[13/11]] | |||
|- | |||
|23 | |||
|augmented tesseria | |||
|Glagol## | |||
| | |||
|- | |||
|24 | |||
|biaugmented tesseria | |||
|Glagol### | |||
|[[6/5]] | |||
|- | |||
|25 | |||
|bidiminished pemptia | |||
|Dobro♭♭♭ | |||
| | |||
|- | |- | ||
|26 | |26 | ||
|neutral tertie | |neutral tertie <br>diminished pemptia | ||
|E | |E <br>Dobro♭♭ | ||
|[[11/9]] | |[[11/9]] | ||
|- | |- | ||
|27 | |27 | ||
|major tertie | |major tertie <br>minor pemptia | ||
|E# | |E# <br>Dobro♭ | ||
|[[16/13]], 27/22 | |[[16/13]], 27/22 | ||
|- | |- | ||
|28 | |28 | ||
|neutral pemptia | |neutral pemptia | ||
|Dobro | |Dobro (Д) | ||
| | | | ||
|- | |||
|29 | |||
|major pemptia | |||
|Dobro# | |||
|[[5/4]] | |||
|- | |||
|30 | |||
|augmented pemptia | |||
|Dobro## | |||
| | |||
|- | |||
|31 | |||
|biaugmented pemptia | |||
|Dobro### | |||
| | |||
|- | |||
|32 | |||
|bidiminished hektia | |||
|Yest♭♭♭ | |||
|[[14/11]] | |||
|- | |||
|33 | |||
|diminished hektia | |||
|Yest♭♭ | |||
|[[9/7]] | |||
|- | |||
|34 | |||
|minor hektia | |||
|Yest♭ | |||
| | |||
|- | |- | ||
|35 | |35 | ||
|neutral hektia | |neutral hektia | ||
|Yest | |Yest (Е) | ||
| | | | ||
|- | |||
|36 | |||
|major hektia | |||
|Yest# | |||
| | |||
|- | |||
|37 | |||
|augmented hektia | |||
|Yest## | |||
| | |||
|- | |||
|38 | |||
|biaugmented hektia | |||
|Yest### | |||
|[[4/3]] | |||
|- | |||
|39 | |||
|neutral quarte <br>bidiminished hebdomia | |||
|F <br>Zhivete♭♭♭ | |||
| | |||
|- | |||
|40 | |||
|diminished hebdomia | |||
|Zhivete♭♭ | |||
| | |||
|- | |- | ||
| | |41 | ||
| | |minor hebdomia | ||
| | |Zhivete♭ | ||
| | | | ||
|- | |- | ||
|42 | |42 | ||
|neutral hebdomia | |neutral hebdomia | ||
|Zhivete | |Zhivete (Ж) | ||
| | |[[11/8]] | ||
|- | |||
|43 | |||
|major hebdomia | |||
|Zhivete# | |||
| | |||
|- | |- | ||
|44 | |44 | ||
|augmented hebdomia | |augmented hebdomia | ||
|Zhivete## | |Zhivete## | ||
|[[7/5]] | |[[7/5]] | ||
|- | |- | ||
|45 | |45 | ||
|biaugmented hebdomia | |biaugmented hebdomia | ||
|Zhivete### | |Zhivete### | ||
|[[10/7]] | | | ||
|- | |||
|46 | |||
|bidiminished ogdonia | |||
|Dzelo♭♭♭ | |||
| | |||
|- | |||
|47 | |||
|diminished ogdonia | |||
|Dzelo♭♭ | |||
|[[10/7]] | |||
|- | |||
|48 | |||
|minor ogdonia | |||
|Dzelo♭ | |||
| | |||
|- | |- | ||
|49 | |49 | ||
|neutral ogdonia | |neutral ogdonia | ||
|Dzelo | |Dzelo (Ѕ) | ||
| | | | ||
|- | |- | ||
| Line 150: | Line 320: | ||
|- | |- | ||
|54 | |54 | ||
|augmented quinte | |augmented quinte <br>diminished ennatia | ||
|G## | |G## <br>Zemle♭♭ | ||
| | |[[256/169]] | ||
|- | |- | ||
|55 | |55 | ||
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|56 | |56 | ||
|neutral ennatia | |neutral ennatia | ||
|Zemle | |Zemle (З) | ||
| | | | ||
|- | |- | ||
|63 | |63 | ||
|neutral decatia | |neutral decatia | ||
|Izhe | |Izhe (И) | ||
| | | | ||
|- | |- | ||
|64 | |64 | ||
|major decatia | |major decatia <br>minor sexte | ||
|Izhe# | |Izhe# <br>A♭ | ||
| | | | ||
|- | |- | ||
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|70 | |70 | ||
|neutral hendecatia | |neutral hendecatia | ||
|Jerve | |Jerve (Ђ) | ||
| | | | ||
|- | |- | ||
|77 | |77 | ||
|neutral dodecatia | |neutral dodecatia | ||
|Kako | |Kako (К) | ||
| | | | ||
|- | |- | ||
| Line 196: | Line 366: | ||
|84 | |84 | ||
|neutral decatotritia | |neutral decatotritia | ||
|Ludi | |Ludi (Л) | ||
| | | | ||
|- | |- | ||
|91 | |91 | ||
|perfect octave | |perfect octave <br>perfect decatotetartia | ||
|C | |C <br>Az (А) | ||
|[[2/1]] exact | |[[2/1]] exact | ||
|} | |} | ||
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* Septimin[9]: 11 9 11 9 11 9 11 9 11 | * Septimin[9]: 11 9 11 9 11 9 11 9 11 | ||
* ArabicSeptimin[9]: 5 15 11 9 11 9 5 15 11 | * ArabicSeptimin[9]: 5 15 11 9 11 9 5 15 11 | ||
*[[Semaphore5]]: 19 19 19 19 15 | * [[Semaphore5]]: 19 19 19 19 15 | ||
* [[Semaphore9]] | * [[Semaphore9]] | ||
* [[Semaphore14]] | * [[Semaphore14]] | ||
Revision as of 23:28, 17 June 2022
| ← 90edo | 91edo | 92edo → |
The 91 equal divisions of the octave (91edo), or 91-tone equal temperament (91tet, 91et) when viewed from a regular temperament perspective, divides the octave into 91 parts of 13.187 cents each.
91 is the smallest composite number whose composite character is not immediately evident in the decimal system; it is, in fact, the product of 7 and 13. From an aesthetic standpoint, the factoring of 91 represents a kind of "yin-yang" since historically, the number 7 symbolizes luck and 13 misfortune.
Theory
The 3, 5 and 7 for 91 are on the flat side, making this a mostly flat system. It provides the optimal patent val for 11- and 13-limit septimin temperament, and the 13-limit rank three tripod temperament, as well as the 11-limit rank four temperament tempering out 245/242 and the 13-limit rank five temperament tempering out 105/104, or rank four tempering out 105/104 and 144/143, or else 105/104 and 196/195 and hence 225/224 also. It tempers out 15625/15552 in the 5-limit, 225/224 and 4375/4374 in the 7-limit, 245/242, 385/384 in the 11-limit, and 105/104, 144/143, 196/195 in the 13-limit. It is the second highest it a series of four consecutive edos that temper out quartisma ([24 -6 0 1 -5⟩). Using the 91c val, it is audibly indistinguishable from a closed system of 1/7 comma meantone, with a 5th only 0.018 cents sharper.
Odd harmonics
| Harmonic | 3 | 5 | 7 | 9 | 11 | 13 | 15 | 17 | 19 | 21 | 23 | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Error | Absolute (¢) | -3.05 | -3.90 | -6.19 | -6.11 | +2.53 | +3.43 | +6.24 | +0.54 | +5.78 | +3.94 | +4.69 |
| Relative (%) | -23.2 | -29.5 | -46.9 | -46.3 | +19.2 | +26.0 | +47.3 | +4.1 | +43.9 | +29.9 | +35.6 | |
| Steps (reduced) |
144 (53) |
211 (29) |
255 (73) |
288 (15) |
315 (42) |
337 (64) |
356 (83) |
372 (8) |
387 (23) |
400 (36) |
412 (48) | |
Regular temperament properties
| Subgroup | Comma list | Mapping | Optimal 8ve stretch (¢) |
Tuning error | |
|---|---|---|---|---|---|
| Absolute (¢) | Relative (%) | ||||
| 2.3 | [-144 91⟩ | [⟨91 144]] | +0.963 | 0.964 | 7.31 |
| 2.3.5 | 15625/15552, 43046721/41943040 | [⟨91 144 211]] | +1.202 | 0.857 | 6.49 |
| 2.3.5.7 | 225/224, 4375/4374, 50421/50000 | [⟨91 144 211 255]] | +1.453 | 0.860 | 6.51 |
Intervals
Eliora, who believes the diatonic way of naming intervals in 91edo is not useful due to the fact that other temperaments and techniques for 91edo are more prominent, proposes a way of naming that merges the factors 7 and 13 - 7 equidistant notes are named do, re, mi, and 13 are named by some other virtue. The proposition is to use Old Slavic letter names, since no one uses them for naming or in mathematics. The 7 + 13 naming convention can be called a duality notation. Intervals can be named through Latin ones for the 7-note scale, and Greek ones for the 13-note.
| # | Eliora's Naming System | Eliora's Notation | Associated Ratio |
|---|---|---|---|
| 0 | unison perfect prime perfect prota |
C Az (А) |
1/1 |
| 1 | major prime major prota |
C# Az# |
|
| 2 | augmented prota | Az## | |
| 3 | biaugmented prota | Az### | |
| 4 | bidiminished deiteria | Buki♭♭♭ | |
| 5 | diminished deiteria | Buki♭♭ | |
| 6 | minor deiteria | Buki♭ | |
| 7 | neutral deiteria | Buki (Б) | |
| 8 | major deiteria | Buki# | |
| 9 | augmented deiteria | Buki## | |
| 10 | biaugmented deiteria | Buki### | |
| 11 | bidiminished tritia | Vedi♭♭♭ | 13/12, 12/11 |
| 12 | diminished tritia | Vedi♭♭ | |
| 13 | neutral secunde minor tritia |
D Vedi♭ |
11/10 |
| 14 | neural tritia | Vedi (В) | 10/9 |
| 15 | major tritia | Vedi# | 9/8 |
| 16 | augmented tritia | Vedi## | |
| 17 | biaugmented tritia | Vedi### | |
| 18 | bidiminished tesseria | Glagol♭♭♭ | 8/7 |
| 19 | diminished tesseria | Glagol♭♭ | |
| 20 | minor tesseria | Glagol♭ | 7/6 |
| 21 | neutral tesseria | Glagol (Г) | |
| 22 | major tesseria | Glagol# | 13/11 |
| 23 | augmented tesseria | Glagol## | |
| 24 | biaugmented tesseria | Glagol### | 6/5 |
| 25 | bidiminished pemptia | Dobro♭♭♭ | |
| 26 | neutral tertie diminished pemptia |
E Dobro♭♭ |
11/9 |
| 27 | major tertie minor pemptia |
E# Dobro♭ |
16/13, 27/22 |
| 28 | neutral pemptia | Dobro (Д) | |
| 29 | major pemptia | Dobro# | 5/4 |
| 30 | augmented pemptia | Dobro## | |
| 31 | biaugmented pemptia | Dobro### | |
| 32 | bidiminished hektia | Yest♭♭♭ | 14/11 |
| 33 | diminished hektia | Yest♭♭ | 9/7 |
| 34 | minor hektia | Yest♭ | |
| 35 | neutral hektia | Yest (Е) | |
| 36 | major hektia | Yest# | |
| 37 | augmented hektia | Yest## | |
| 38 | biaugmented hektia | Yest### | 4/3 |
| 39 | neutral quarte bidiminished hebdomia |
F Zhivete♭♭♭ |
|
| 40 | diminished hebdomia | Zhivete♭♭ | |
| 41 | minor hebdomia | Zhivete♭ | |
| 42 | neutral hebdomia | Zhivete (Ж) | 11/8 |
| 43 | major hebdomia | Zhivete# | |
| 44 | augmented hebdomia | Zhivete## | 7/5 |
| 45 | biaugmented hebdomia | Zhivete### | |
| 46 | bidiminished ogdonia | Dzelo♭♭♭ | |
| 47 | diminished ogdonia | Dzelo♭♭ | 10/7 |
| 48 | minor ogdonia | Dzelo♭ | |
| 49 | neutral ogdonia | Dzelo (Ѕ) | |
| 52 | neutral quinte | G | 121/81 |
| 53 | major quinte | G# | 3/2 |
| 54 | augmented quinte diminished ennatia |
G## Zemle♭♭ |
256/169 |
| 55 | minor ennatia | Zemle♭ | |
| 56 | neutral ennatia | Zemle (З) | |
| 63 | neutral decatia | Izhe (И) | |
| 64 | major decatia minor sexte |
Izhe# A♭ |
|
| 65 | neutral sexte | A | |
| 70 | neutral hendecatia | Jerve (Ђ) | |
| 77 | neutral dodecatia | Kako (К) | |
| 78 | neutral septime | B | |
| 84 | neutral decatotritia | Ludi (Л) | |
| 91 | perfect octave perfect decatotetartia |
C Az (А) |
2/1 exact |
Scales
- NaiveMajor[7]: 13 16 10 13 16 13 10
- NaiveMinor[7]: 13 10 16 13 10 13 16
- HungarianNaiveSurorwell[13]: 7 7 8 6 11 5 5 7 10 4 4 13 4
- Septimin[9]: 11 9 11 9 11 9 11 9 11
- ArabicSeptimin[9]: 5 15 11 9 11 9 5 15 11
- Semaphore5: 19 19 19 19 15
- Semaphore9
- Semaphore14
Music
- DPRK ISON CHASE by Chris Vaisvil
- DPRK ISON CHASE - YouTube
- Sadness - Nope by Mercury Amalgam