User:Ganaram inukshuk/TAMNAMS/Appendix: Difference between revisions

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This temperament is supported by {{Optimal ET sequence| 7, 10 and 17 }} equal divisions, with non-patent val tunings including (but not limited to) 7+7=14cd, 10+10=20e, 17+7=24cd, and 17+10=27ce.

====Armotonic (7L 2s)====

Originally, the name ''superdiatonic'' was used for 7L 2s, as it has seen some precedent of use on the wiki to refer to an octave-equivalent 7L 2s pattern, although it has had earlier use to refer to the expansion of a smaller mos to a larger one:

Originally, the name ''superdiatonic'' was used for 7L 2s, as it has seen some precedent of use on the wiki to refer to an octave-equivalent 7L 2s pattern, although it has had earlier use to refer to the expansion of a smaller mos to a larger one. Due to these concerns, the name ''armotonic'' is normally advised over ''superdiatonic'' as the former is unambiguous as to what it refers to, and the name ''superdiatonic'' is only allowed in situations where it's truly unambiguous if the writer prefers it.

*From the page [[altered pentad]], where ''superdiatonic'' refers to meantone[12], corresponding to 7L 5s:<blockquote>''One drawback of meantone[12] (the so-called '''superdiatonic''' scale) is that it has only two each of the ordinary (5:6:7:8:9) [[otonal]] and [[utonal]] pentads, just as it has only two of each 7-limit [[tetrad]].~~''</blockquote>~~

*From the page [[mohajira]], where ''superdiatonic'' refers to mohajira[10], corresponding to 7L 3s.

*From the page [[Composing Powerstart]], where ''superdiatonic'' is used to refer to porcupine[8], corresponding to 7L 1s:<blockquote>''For starters, you might want to mess around with what's called "[[porcupine]]" temperament in [[22edo|22-EDO]]. The base diatonic-sized scale is (as steps out of 22-EDO) 4 3 3 3 3 3 3, and you can chromatically alter anything in that scale you want by 1 step out of 22. For instance, if you flat the 7, you get the scale 4 3 3 3 3 2 4, which is nice because it has a 4:5:6:7:9:11 chord in it. There's another "'''superdiatonic'''" scale at 1 3 3 3 3 3 3 3 which you can morph the above into if you want, and a 15-note chromatic scale at 1 1 2 1 2 1 2 1 2 1 2 1 2 1 2; feel free to not stick dogmatically to these exact scales but to change them as you desire.''</blockquote>What 7L 2s and 5L 2s ''do'' share in common is 7L 2s has two extra large steps compared to 5L 2s, and that the addition of more large steps, generalized as (5+2''k'')L 2s, produces mosses with increasingly ''flat'' fifth-like intervals for their generators.

Due to these concerns, the name ''armotonic'' is normally advised over ''superdiatonic'' as the former is unambiguous as to what it refers to, and the name ''superdiatonic'' is only allowed in situations where it's truly unambiguous if the writer prefers it.

====On the term ''diatonic''====

~~In TAMNAMS, ''diatonic'' exclusively refers to 5L 2s. This is because while~~ the term ''diatonic'' has accrued a variety of exact meanings over time, both within and outside the contexts of xenharmonic music theory, ~~it has a clear choice~~ of ~~referent when talking about MOS~~ scales: 5L 2s ~~with an octave or tempered-octave period~~.

Although the term ''diatonic'' has accrued a variety of exact meanings over time, both within and outside the contexts of xenharmonic music theory, in the context of TAMNAMS and moment-of-symmetry scales, the term ''diatonic'' exclusively refers to 5L 2s.

===Name changes and former names===

Several names have been changed significantly, as naming principles have evolved to what they are currently, or due to the meaning of certain names being called into question. Former names are provided here for reference. Short-lived names are not included here.

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 This temperament is supported by {{Optimal ET sequence| 7, 10 and 17 }} equal divisions, with non-patent val tunings including (but not limited to) 7+7=14cd, 10+10=20e, 17+7=24cd, and 17+10=27ce.
 ====Armotonic (7L 2s)====
-Originally, the name ''superdiatonic'' was used for 7L 2s, as it has seen some precedent of use on the wiki to refer to an octave-equivalent 7L 2s pattern, although it has had earlier use to refer to the expansion of a smaller mos to a larger one:
+Originally, the name ''superdiatonic'' was used for 7L 2s, as it has seen some precedent of use on the wiki to refer to an octave-equivalent 7L 2s pattern, although it has had earlier use to refer to the expansion of a smaller mos to a larger one. Due to these concerns, the name ''armotonic'' is normally advised over ''superdiatonic'' as the former is unambiguous as to what it refers to, and the name ''superdiatonic'' is only allowed in situations where it's truly unambiguous if the writer prefers it.
-*From the page [[altered pentad]], where ''superdiatonic'' refers to meantone[12], corresponding to 7L 5s:<blockquote>''One drawback of meantone[12] (the so-called '''superdiatonic''' scale) is that it has only two each of the ordinary (5:6:7:8:9) [[otonal]] and [[utonal]] pentads, just as it has only two of each 7-limit [[tetrad]].''</blockquote>
-*From the page [[mohajira]], where ''superdiatonic'' refers to mohajira[10], corresponding to 7L 3s.
-*From the page [[Composing Powerstart]], where ''superdiatonic'' is used to refer to porcupine[8], corresponding to 7L 1s:<blockquote>''For starters, you might want to mess around with what's called "[[porcupine]]" temperament in [[22edo|22-EDO]]. The base diatonic-sized scale is (as steps out of 22-EDO) 4 3 3 3 3 3 3, and you can chromatically alter anything in that scale you want by 1 step out of 22. For instance, if you flat the 7, you get the scale 4 3 3 3 3 2 4, which is nice because it has a 4:5:6:7:9:11 chord in it. There's another "'''superdiatonic'''" scale at 1 3 3 3 3 3 3 3 which you can morph the above into if you want, and a 15-note chromatic scale at 1 1 2 1 2 1 2 1 2 1 2 1 2 1 2; feel free to not stick dogmatically to these exact scales but to change them as you desire.''</blockquote>What 7L 2s and 5L 2s ''do'' share in common is 7L 2s has two extra large steps compared to 5L 2s, and that the addition of more large steps, generalized as (5+2''k'')L 2s, produces mosses with increasingly ''flat'' fifth-like intervals for their generators.
-Due to these concerns, the name ''armotonic'' is normally advised over ''superdiatonic'' as the former is unambiguous as to what it refers to, and the name ''superdiatonic'' is only allowed in situations where it's truly unambiguous if the writer prefers it.
 ====On the term ''diatonic''====
-In TAMNAMS, ''diatonic'' exclusively refers to 5L 2s. This is because while the term ''diatonic'' has accrued a variety of exact meanings over time, both within and outside the contexts of xenharmonic music theory, it has a clear choice of referent when talking about MOS scales: 5L 2s with an octave or tempered-octave period.
+Although the term ''diatonic'' has accrued a variety of exact meanings over time, both within and outside the contexts of xenharmonic music theory, in the context of TAMNAMS and moment-of-symmetry scales, the term ''diatonic'' exclusively refers to 5L 2s.
 ===Name changes and former names===
 Several names have been changed significantly, as naming principles have evolved to what they are currently, or due to the meaning of certain names being called into question. Former names are provided here for reference. Short-lived names are not included here.