22edo/Unque's compositional approach: Difference between revisions
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|[[6/5]] | |[[6/5]] | ||
|[[Orgone]] ( | |[[Orgone]] (actually in [[11edo]]) | ||
|Fb | |Fb | ||
|Somewhat contentious JI interpretation (see below). | |Somewhat contentious JI interpretation (see below). | ||
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|872.7 | |872.7 | ||
|[[5/3]] | |[[5/3]] | ||
|Orgone ( | |Orgone (actually in [[11edo]]) | ||
|G# | |G# | ||
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22edo has two pairs of thirds: a major/minor pair, and a supermajor/subminor pair; despite most often being viewed as an 11-limit system, it lacks clear representation for the neutral thirds that are characteristic of 11-limit harmony. | 22edo has two pairs of thirds: a major/minor pair, and a supermajor/subminor pair; despite most often being viewed as an 11-limit system, it lacks clear representation for the neutral thirds that are characteristic of 11-limit harmony. | ||
The subminor third at 5\22 represents 7/6 with moderate accuracy, though it is significantly less consonant than the JI representation. Its fifth | The subminor third at 5\22 represents 7/6 with moderate accuracy, though it is significantly less consonant than the JI representation. Its fifth complement is the supermajor third at 8\22, which is an excellent representation of 9/7. This interval is perhaps better paired with 14\22 than with 13\22, as the former can be interpreted as 11/7 and thus provides the more consonant otonal 7:9:11 triad. | ||
The minor third at 6\22 is contentious in its interpretation; it is quite sharp as a representation of 6/5, though not sharp enough to constitute a neutral third. Its fifth complement, the major third at 7\22, is a much clearer 5/4, the two being practically indistinguishable to the untrained ear. | The minor third at 6\22 is contentious in its interpretation; it is quite sharp as a representation of 6/5, though not sharp enough to constitute a neutral third. Its fifth complement, the major third at 7\22, is a much clearer 5/4, the two being practically indistinguishable to the untrained ear. | ||