User:CompactStar/Ed11/5: Difference between revisions

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Division of 11/5 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of equivalence has not even been posed yet. The utility of 11/5 as a base though is apparent by it being the best option for "no-twos-or-threes" harmony after the extremely wide [[ed5|pentave]], as well as it being a relatively strong consonance.

The simplest chord that is possible without 2's or 3's that fits in 11/5 is 7:11:13, so it can be viewed as the fundamental sonority of no-twos-or-threes music. It is also the smallest option that is not very dissonant, as 5:7:11 contains a [[7/5]] tritone creating a strong dissonance.

The simplest chord that is possible without 2's or 3's that fits in 11/5 is 7:11:13, so it can be viewed as the fundamental sonority of no-twos-or-threes music. It is also the smallest option that is not very dissonant, as 5:7:11 contains a [[7/5]] tritone creating a strong dissonance. In this case, three [[13/7]]'s fall short of [[11/7]] by [[847/845]]. Tempering out this comma together with the additional comma 637/625 creates a no-twos-or-threes temperament that can be viewed as an analog to [[meantone]].

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	Division of 11/5 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of equivalence has not even been posed yet. The utility of 11/5 as a base though is apparent by it being the best option for "no-twos-or-threes" harmony after the extremely wide [[ed5\|pentave]], as well as it being a relatively strong consonance.		Division of 11/5 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of equivalence has not even been posed yet. The utility of 11/5 as a base though is apparent by it being the best option for "no-twos-or-threes" harmony after the extremely wide [[ed5\|pentave]], as well as it being a relatively strong consonance.

	The simplest chord that is possible without 2's or 3's that fits in 11/5 is 7:11:13, so it can be viewed as the fundamental sonority of no-twos-or-threes music. It is also the smallest option that is not very dissonant, as 5:7:11 contains a [[7/5]] tritone creating a strong dissonance.		The simplest chord that is possible without 2's or 3's that fits in 11/5 is 7:11:13, so it can be viewed as the fundamental sonority of no-twos-or-threes music. It is also the smallest option that is not very dissonant, as 5:7:11 contains a [[7/5]] tritone creating a strong dissonance. In this case, three [[13/7]]'s fall short of [[11/7]] by [[847/845]]. Tempering out this comma together with the additional comma 637/625 creates a no-twos-or-threes temperament that can be viewed as an analog to [[meantone]].