Ed5/2: Difference between revisions

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Division of 5/2 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 5:2, (or another tenth) as a base though, is apparent by being used at the base of so much modern tonal harmony. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy.

Incidentally, one way to treat 5/2 as an equivalence is the use of the 2:3:4:(5) chord as the fundamental complete sonority in a very similar way to the 3:4:5:(6) chord in meantone. Whereas in meantone it takes three 4/3 to get to 6/5, here it takes three 3/2 to get to 6/5 (tempering out the comma 27/25). So, doing this yields 5, 7, and 12 note MOS, just like meantone. While the notes are rather closer together, the scheme is exactly identical to meantone. "Macrodiatonic" might be a perfect term for it because it uses a scheme that turns out exactly identical to meantone, though severely stretched.

Incidentally, one way to treat 5/2 as an equivalence is the use of the 2:3:4:(5) chord as the fundamental complete sonority in a very similar way to the 3:4:5:(6) chord in meantone. Whereas in meantone it takes three 4/3 to get to 6/5, here it takes three 3/2 to get to 6/5 (tempering out the comma 3125/3048). So, doing this yields 5, 7, and 12 note MOS, just like meantone. While the notes are rather closer together, the scheme is exactly identical to meantone. "Macrodiatonic" might be a perfect term for it because it uses a scheme that turns out exactly identical to meantone, though severely stretched.

== Individual pages for ED5/2s ==

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 Division of 5/2 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 5:2, (or another tenth) as a base though, is apparent by being used at the base of so much modern tonal harmony. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy.
-Incidentally, one way to treat 5/2 as an equivalence is the use of the 2:3:4:(5) chord as the fundamental complete sonority in a very similar way to the 3:4:5:(6) chord in meantone. Whereas in meantone it takes three 4/3 to get to 6/5, here it takes three 3/2 to get to 6/5 (tempering out the comma 27/25). So, doing this yields 5, 7, and 12 note MOS, just like meantone. While the notes are rather closer together, the scheme is exactly identical to meantone. "Macrodiatonic" might be a perfect term for it because it uses a scheme that turns out exactly identical to meantone, though severely stretched.
+Incidentally, one way to treat 5/2 as an equivalence is the use of the 2:3:4:(5) chord as the fundamental complete sonority in a very similar way to the 3:4:5:(6) chord in meantone. Whereas in meantone it takes three 4/3 to get to 6/5, here it takes three 3/2 to get to 6/5 (tempering out the comma 3125/3048). So, doing this yields 5, 7, and 12 note MOS, just like meantone. While the notes are rather closer together, the scheme is exactly identical to meantone. "Macrodiatonic" might be a perfect term for it because it uses a scheme that turns out exactly identical to meantone, though severely stretched.
 == Individual pages for ED5/2s ==