User:CompactStar/Ed11/4: Difference between revisions
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Division of 11/4 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 11/4 or another eleventh 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. | Division of 11/4 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 11/4 or another eleventh 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 | Incidentally, one way to treat 11/4 as an equivalence in a temperament is the use of the 11:16:20 chord as the fundamental complete sonority in a very similar way to the 4:5:6 chord in [[meantone]]. Whereas in [[meantone]] 4 [[3/2]] is equated with [[5/1]], here 4 [[20/11]] is equated with [[16/11]], tempering out the comma 161051/160000 in the 4.5.11 subgroup. Doing this yields 5, 7, 12, and 17 note MOS, coincidentally similar to [[Pythagorean tuning]]. | ||
[[Category:Equal-step tuning]] | [[Category:Equal-step tuning]] | ||
Revision as of 04:06, 21 April 2023
Ed11/4 is division of 11/4 into equal parts.
Properties
Division of 11/4 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 11/4 or another eleventh 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 11/4 as an equivalence in a temperament is the use of the 11:16:20 chord as the fundamental complete sonority in a very similar way to the 4:5:6 chord in meantone. Whereas in meantone 4 3/2 is equated with 5/1, here 4 20/11 is equated with 16/11, tempering out the comma 161051/160000 in the 4.5.11 subgroup. Doing this yields 5, 7, 12, and 17 note MOS, coincidentally similar to Pythagorean tuning.