50edo: Difference between revisions

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== Theory ==

In the [[5-limit]], 50edo tempers out [[81/80]], making it a [[meantone]] system, and in that capacity has historically drawn some notice. In [http://lit.gfax.ch/Harmonics%202nd%20Edition%20%28Robert%20Smith%29.pdf "Harmonics or the Philosophy of Musical Sounds"] (1759) by Robert Smith, a musical temperament is described where the octave is divided into 50 equal parts – 50edo, in one word. Later, W.S.B. Woolhouse noted it was fairly close to the [[Target_tunings|least squares]] tuning for 5-limit meantone. 50edo, however, is especially interesting from a higher limit point of view. While [[31edo]] extends meantone with a [[7/4]] which is nearly pure, 50 has a flat 7/4 but both [[11/8]] and [[13/8]] are nearly pure. It is also the highest edo where the mapping of [[9/8]] and [[10/9]] to the same interval is [[consistent]], with two stacked fifths falling almost exactly 3/7 syntonic comma sharp of 10/9 and 4/7 comma flat of 9/8. It is also ~~notable for mapping the entire~~ [[15-odd-limit]] consistently, with the sole exceptions of 11/9 and 18/11.

In the [[5-limit]], 50edo tempers out [[81/80]], making it a [[meantone]] system, and in that capacity has historically drawn some notice. In [http://lit.gfax.ch/Harmonics%202nd%20Edition%20%28Robert%20Smith%29.pdf "Harmonics or the Philosophy of Musical Sounds"] (1759) by Robert Smith, a musical temperament is described where the octave is divided into 50 equal parts – 50edo, in one word. Later, W.S.B. Woolhouse noted it was fairly close to the [[Target_tunings|least squares]] tuning for 5-limit meantone. 50edo, however, is especially interesting from a higher limit point of view. While [[31edo]] extends meantone with a [[7/4]] which is nearly pure, 50 has a flat 7/4 but both [[11/8]] and [[13/8]] are nearly pure. It is also the highest edo where the mapping of [[9/8]] and [[10/9]] to the same interval is [[consistent]], with two stacked fifths falling almost exactly 3/7 syntonic comma sharp of 10/9 and 4/7 comma flat of 9/8. It also maps all [[15-odd-limit]] intervals consistently, with the sole exceptions of 11/9 and 18/11.

50edo tempers out [[126/125]], [[225/224]] and [[3136/3125]] in the [[7-limit]], indicating it [[support]]s septimal meantone; [[245/242]], [[385/384]] and [[540/539]] in the [[11-limit]] and [[105/104]], [[144/143]] and 196/195 in the [[13-limit]], and can be used for even higher limits. Aside from meantone and its extension meanpop, it can be used to advantage for the [[Starling temperaments #Coblack temperament|coblack (15&50) temperament]], and provides the optimal patent val for 11 and 13-limit [[Meantone_family #Bimeantone|bimeantone]]. It is also the unique equal temperament tempering out both 81/80 and the [[vishnuzma]], {{monzo|23 6 -14}}, so that in 50edo seven chromatic semitones stack to a perfect fourth. By comparison, this gives a perfect fifth in 12edo, a doubly diminished fifth in 31edo, and a diminished fourth in 19edo.

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 {{EDO intro|50}}
 == Theory ==
-In the [[5-limit]], 50edo tempers out [[81/80]], making it a [[meantone]] system, and in that capacity has historically drawn some notice. In [http://lit.gfax.ch/Harmonics%202nd%20Edition%20%28Robert%20Smith%29.pdf "Harmonics or the Philosophy of Musical Sounds"] (1759) by Robert Smith, a musical temperament is described where the octave is divided into 50 equal parts &ndash; 50edo, in one word. Later, W.S.B. Woolhouse noted it was fairly close to the [[Target_tunings|least squares]] tuning for 5-limit meantone. 50edo, however, is especially interesting from a higher limit point of view. While [[31edo]] extends meantone with a [[7/4]] which is nearly pure, 50 has a flat 7/4 but both [[11/8]] and [[13/8]] are nearly pure. It is also the highest edo where the mapping of [[9/8]] and [[10/9]] to the same interval is [[consistent]], with two stacked fifths falling almost exactly 3/7 syntonic comma sharp of 10/9 and 4/7 comma flat of 9/8. It is also notable for mapping the entire [[15-odd-limit]] consistently, with the sole exceptions of 11/9 and 18/11.
+In the [[5-limit]], 50edo tempers out [[81/80]], making it a [[meantone]] system, and in that capacity has historically drawn some notice. In [http://lit.gfax.ch/Harmonics%202nd%20Edition%20%28Robert%20Smith%29.pdf "Harmonics or the Philosophy of Musical Sounds"] (1759) by Robert Smith, a musical temperament is described where the octave is divided into 50 equal parts &ndash; 50edo, in one word. Later, W.S.B. Woolhouse noted it was fairly close to the [[Target_tunings|least squares]] tuning for 5-limit meantone. 50edo, however, is especially interesting from a higher limit point of view. While [[31edo]] extends meantone with a [[7/4]] which is nearly pure, 50 has a flat 7/4 but both [[11/8]] and [[13/8]] are nearly pure. It is also the highest edo where the mapping of [[9/8]] and [[10/9]] to the same interval is [[consistent]], with two stacked fifths falling almost exactly 3/7 syntonic comma sharp of 10/9 and 4/7 comma flat of 9/8. It also maps all [[15-odd-limit]] intervals consistently, with the sole exceptions of 11/9 and 18/11.
 edo tempers out [[126/125]], [[225/224]] and [[3136/3125]] in the [[7-limit]], indicating it [[support]]s septimal meantone; [[245/242]], [[385/384]] and [[540/539]] in the [[11-limit]] and [[105/104]], [[144/143]] and 196/195 in the [[13-limit]], and can be used for even higher limits. Aside from meantone and its extension meanpop, it can be used to advantage for the [[Starling temperaments #Coblack temperament|coblack (15&amp;50) temperament]], and provides the optimal patent val for 11 and 13-limit [[Meantone_family #Bimeantone|bimeantone]]. It is also the unique equal temperament tempering out both 81/80 and the [[vishnuzma]], {{monzo|23 6 -14}}, so that in 50edo seven chromatic semitones stack to a perfect fourth. By comparison, this gives a perfect fifth in 12edo, a doubly diminished fifth in 31edo, and a diminished fourth in 19edo.