Monzo: Difference between revisions

Line 14:

== Examples ==

For example, the interval 15/8 can be thought of as having <math>~~5⋅3~~</math> in the numerator, and <math>~~2⋅2⋅2~~</math> in the denominator. This can be compactly represented by the expression <math>2^{-3} \cdot 3^1 \cdot 5^1</math>, which is exactly equal to 15/8. We construct the monzo by taking the exponent from each prime, in order, and placing them within the {{monzo| … }} brackets, hence yielding {{monzo| -3 1 1 }}.

For example, the interval 15/8 can be thought of as having <math>5 \cdot 3</math> in the numerator, and <math>2 \cdot 2 \cdot 2</math> in the denominator. This can be compactly represented by the expression <math>2^{-3} \cdot 3^1 \cdot 5^1</math>, which is exactly equal to 15/8. We construct the monzo by taking the exponent from each prime, in order, and placing them within the {{monzo| … }} brackets, hence yielding {{monzo| -3 1 1 }}.

:'''Practical hint:''' the monzo template helps you getting correct brackets ([[Template:Monzo|read more…]]).

Line 62:

<math>

\left\langle \begin{matrix} 12 & 19 & 28 \end{matrix} \mid \begin{matrix} -4 & 4 & -1 \end{matrix} \right\rangle \\

= 12 \~~times~~ (-4) + 19 \~~times~~ 4 + 28 \~~times~~ (-1) \\

= 12 \cdot (-4) + 19 \cdot 4 + 28 \cdot (-1) \\

= 0

</math>

In this case, the val {{val| 12 19 28 }} is the [[patent val]] for 12-equal, and {{monzo| -4 4 -1 }} is 81/80, or the syntonic comma. The fact that ⟨ 12 19 28 | -4 4 -1 ⟩ tells us that 81/80 is mapped to 0 steps in 12-equal ~~– aka~~ it is tempered out – which tells us that 12-equal is a meantone temperament. It is noteworthy that almost the entirety of Western music composed in the Renaissance and from the sixteenth century onwards, particularly Western music composed for 12-tone circulating temperaments ([[12edo|12 equal]] and unequal [[well temperament]]s), is made possible by the tempering out of 81/80, and that almost all aspects of modern common practice Western music theory (chords and scales) in both classical and non-classical music genres are based exclusively on meantone.

In this case, the val {{val| 12 19 28 }} is the [[patent val]] for 12-equal, and {{monzo| -4 4 -1 }} is 81/80, or the syntonic comma. The fact that ⟨ 12 19 28 | -4 4 -1 ⟩ tells us that 81/80 is mapped to 0 steps in 12-equal—in other words, it is tempered out—which tells us that 12-equal is a meantone temperament. It is noteworthy that almost the entirety of Western music composed in the Renaissance and from the sixteenth century onwards, particularly Western music composed for 12-tone circulating temperaments ([[12edo|12 equal]] and unequal [[well temperament]]s), is made possible by the tempering out of 81/80, and that almost all aspects of modern common practice Western music theory (chords and scales) in both classical and non-classical music genres are based exclusively on meantone.

In general:

Line 99:

== Notes ==

[[Category:Regular temperament theory]]

@@ Line 14: / Line 14: @@
 == Examples ==
-For example, the interval 15/8 can be thought of as having <math>5⋅3</math> in the numerator, and <math>2⋅2⋅2</math> in the denominator. This can be compactly represented by the expression <math>2^{-3} \cdot 3^1 \cdot 5^1</math>, which is exactly equal to 15/8. We construct the monzo by taking the exponent from each prime, in order, and placing them within the {{monzo| … }} brackets, hence yielding {{monzo| -3 1 1 }}.
+For example, the interval 15/8 can be thought of as having <math>5 \cdot 3</math> in the numerator, and <math>2 \cdot 2 \cdot 2</math> in the denominator. This can be compactly represented by the expression <math>2^{-3} \cdot 3^1 \cdot 5^1</math>, which is exactly equal to 15/8. We construct the monzo by taking the exponent from each prime, in order, and placing them within the {{monzo| … }} brackets, hence yielding {{monzo| -3 1 1 }}.
 :'''Practical hint:''' the monzo template helps you getting correct brackets ([[Template:Monzo|read more…]]).
@@ Line 62: / Line 62: @@
 <math>
 \left\langle \begin{matrix} 12 & 19 & 28 \end{matrix} \mid \begin{matrix} -4 & 4 & -1 \end{matrix} \right\rangle \\
-= 12 \times (-4) + 19 \times 4 + 28 \times (-1) \\
+= 12 \cdot (-4) + 19 \cdot 4 + 28 \cdot (-1) \\
 = 0
 </math>
-In this case, the val {{val| 12 19 28 }} is the [[patent val]] for 12-equal, and {{monzo| -4 4 -1 }} is 81/80, or the syntonic comma. The fact that ⟨ 12 19 28 | -4 4 -1 ⟩ tells us that 81/80 is mapped to 0 steps in 12-equal – aka it is tempered out – which tells us that 12-equal is a meantone temperament. It is noteworthy that almost the entirety of Western music composed in the Renaissance and from the sixteenth century onwards, particularly Western music composed for 12-tone circulating temperaments ([[12edo|12 equal]] and unequal [[well temperament]]s), is made possible by the tempering out of 81/80, and that almost all aspects of modern common practice Western music theory (chords and scales) in both classical and non-classical music genres are based exclusively on meantone.
+In this case, the val {{val| 12 19 28 }} is the [[patent val]] for 12-equal, and {{monzo| -4 4 -1 }} is 81/80, or the syntonic comma. The fact that ⟨ 12 19 28 | -4 4 -1 ⟩ tells us that 81/80 is mapped to 0 steps in 12-equal&mdash;in other words, it is tempered out&mdash;which tells us that 12-equal is a meantone temperament. It is noteworthy that almost the entirety of Western music composed in the Renaissance and from the sixteenth century onwards, particularly Western music composed for 12-tone circulating temperaments ([[12edo|12 equal]] and unequal [[well temperament]]s), is made possible by the tempering out of 81/80, and that almost all aspects of modern common practice Western music theory (chords and scales) in both classical and non-classical music genres are based exclusively on meantone.
 In general:
@@ Line 99: / Line 99: @@
 == Notes ==
-<references/>
+<references />
 [[Category:Regular temperament theory]]