Ed7: Difference between revisions

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The seventh harmonic is particularly wide as far as equivalences go. There are (at absolute most) ~3.9 heptataves within the human hearing range; imagine if that were the case with octaves. If one does indeed deal with heptatave equivalence, this fact shapes one's musical approach dramatically.

Incidentally, one way to treat 7/1 as an equivalence is to eliminate the primes 2, 3, and 5 and use the 7:11:13:(49) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone Whereas in meantone it takes four [[3/2]] to get to [[5/4]], here it takes seven [[13/7]] to get to [[11/7]] (tempering out the comma 63412811/62748517 in the 7.11.13 subgroup). This temperament yields 10, 13, 16, 19, 22, 25, and 47 note MOS. If 7/1 is too wide to be used as an equivalence, the next best option for ~~the 7.11.13 subgroup~~ is [[Ed11/7|11/7]].

Incidentally, one way to treat 7/1 as an equivalence is to eliminate the primes 2, 3, and 5 and use the 7:11:13:(49) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone Whereas in meantone it takes four [[3/2]] to get to [[5/4]], here it takes seven [[13/7]] to get to [[11/7]] (tempering out the comma 63412811/62748517 in the 7.11.13 subgroup). This temperament yields 10, 13, 16, 19, 22, 25, and 47 note MOS. If 7/1 is too wide to be used as an equivalence, the next best option for is to use [[Ed11/7|equal divisions of 11/7]] tuning.

== Individual pages for ED7s ==

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 The seventh harmonic is particularly wide as far as equivalences go. There are (at absolute most) ~3.9 heptataves within the human hearing range; imagine if that were the case with octaves. If one does indeed deal with heptatave equivalence, this fact shapes one's musical approach dramatically.
-Incidentally, one way to treat 7/1 as an equivalence is to eliminate the primes 2, 3, and 5 and use the 7:11:13:(49) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone Whereas in meantone it takes four [[3/2]] to get to [[5/4]], here it takes seven [[13/7]] to get to [[11/7]] (tempering out the comma 63412811/62748517 in the 7.11.13 subgroup). This temperament yields 10, 13, 16, 19, 22, 25, and 47 note MOS. If 7/1 is too wide to be used as an equivalence, the next best option for the 7.11.13 subgroup is [[Ed11/7|11/7]].
+Incidentally, one way to treat 7/1 as an equivalence is to eliminate the primes 2, 3, and 5 and use the 7:11:13:(49) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone Whereas in meantone it takes four [[3/2]] to get to [[5/4]], here it takes seven [[13/7]] to get to [[11/7]] (tempering out the comma 63412811/62748517 in the 7.11.13 subgroup). This temperament yields 10, 13, 16, 19, 22, 25, and 47 note MOS. If 7/1 is too wide to be used as an equivalence, the next best option for is to use [[Ed11/7|equal divisions of 11/7]] tuning.
 == Individual pages for ED7s ==