15edo: Difference between revisions
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== Theory == | == Theory == | ||
15edo can be thought of as three sets of [[5edo]] which do not connect by fifths. The fifth at 720 cents is quite wide yet still usable as a perfect fifth. Some would describe the fifth as more shimmery and pungent than anything closer to a just 3/2. The perfect fifth of 15edo returns to the octave if stacked five times, meaning the [[Pythagorean limma]] is tempered out, which is radically different than a meantone system. This has a variety of ramifications for chord progressions based on [[Wikipedia:Function (music)|functional harmony]], because with a closed circle of five notes, the same interval can have multiple functions. Additionally, 15 being equal to 3 × 5 also implies that 15edo contains five sets of [[3edo]]. | 15edo can be thought of as three sets of [[5edo]] which do not connect by fifths. The fifth at 720 cents is quite wide yet still usable as a perfect fifth. Some would describe the fifth as more shimmery and pungent than anything closer to a just 3/2. The perfect fifth of 15edo returns to the octave if stacked five times, meaning the [[Pythagorean limma]] is tempered out, which is radically different than a meantone system. This has a variety of ramifications for chord progressions based on [[Wikipedia:Function (music)|functional harmony]], because with a closed circle of five notes, the same interval can have multiple functions. Additionally, 15 being equal to 3 × 5 also implies that 15edo contains five sets of [[3edo]]. | ||
15edo can be seen as a [[7-limit]] temperament because of its ability to approximate some septimal intervals, but it also contains some fairly obvious approximations to [[11-limit]] intervals, so it can reasonably be described as an 11-limit temperament, and is generally considered to be the first EDO to work as an 11-limit system; however, due to its rather distant approximation of the 3rd harmonic (and therefore the 9th harmonic as well), those seeking to approximate JI with 15edo would be best advised to avoid chords requiring those harmonics (or to at least treat them with sensitivity, for instance, only using 9/8 when it is being made up of two 3/2s to make its identity clear). 15edo is also notable for being the smallest edo with recognizable, distinct representations of 5-odd limit intervals (3/2, 5/4, 6/5, and their octave inverses) that has a positive [[syntonic comma]]. | 15edo can be seen as a [[7-limit]] temperament because of its ability to approximate some septimal intervals, but it also contains some fairly obvious approximations to [[11-limit]] intervals, so it can reasonably be described as an 11-limit temperament, and is generally considered to be the first EDO to work as an 11-limit system; however, due to its rather distant approximation of the 3rd harmonic (and therefore the 9th harmonic as well), those seeking to approximate JI with 15edo would be best advised to avoid chords requiring those harmonics (or to at least treat them with sensitivity, for instance, only using 9/8 when it is being made up of two 3/2s to make its identity clear). 15edo is also notable for being the smallest edo with recognizable, distinct representations of 5-odd limit intervals (3/2, 5/4, 6/5, and their octave inverses) that has a positive [[syntonic comma]]. | ||
In the 15edo system, major thirds cannot be divided perfectly into two, while minor 3rds, 4ths, wide tritones, subminor 7ths, and supermajor 7ths can. Similarly, 4ths, 5ths, and subminor 7ths can all be divided into 3 equal parts, while minor 3rds, tritones, and major 6ths cannot. This gives 15edo a whole new set of pitch symmetries and modes of limited transposition. Coupled with the lack of a [[5L 2s|diatonic scale]] and of a standard tritone, this tuning can be disorienting at first. Nonetheless, 15edo is notable for being the next-smallest EDO after 12edo that contains recognizable major and minor triads (unless the 14edo supermajor triad is considered as a "recognizable major triad"), a property noted in the works of theorists like [[Ivor Darreg]] and [[Easley Blackwood]]. In addition, because the guitar can be tuned symmetrically, from E to e (6th to 1st strings) unlike the 12-tone system on guitars, the learning curve is very manageable. All chords look the same modulated anywhere, and minor arpeggios are vertically stacked, making them very easy to play. 15-tone may be a promising start for anyone interested in xenharmony, due to its manageable number of tones and for containing the relatively popular 5edo. | In the 15edo system, major thirds cannot be divided perfectly into two, while minor 3rds, 4ths, wide tritones, subminor 7ths, and supermajor 7ths can. Similarly, 4ths, 5ths, and subminor 7ths can all be divided into 3 equal parts, while minor 3rds, tritones, and major 6ths cannot. This gives 15edo a whole new set of pitch symmetries and modes of limited transposition. Coupled with the lack of a [[5L 2s|diatonic scale]] and of a standard tritone, this tuning can be disorienting at first. Nonetheless, 15edo is notable for being the next-smallest EDO after 12edo that contains recognizable major and minor triads (unless the 14edo supermajor triad is considered as a "recognizable major triad"), a property noted in the works of theorists like [[Ivor Darreg]] and [[Easley Blackwood]]. In addition, because the guitar can be tuned symmetrically, from E to e (6th to 1st strings) unlike the 12-tone system on guitars, the learning curve is very manageable. All chords look the same modulated anywhere, and minor arpeggios are vertically stacked, making them very easy to play. 15-tone may be a promising start for anyone interested in xenharmony, due to its manageable number of tones and for containing the relatively popular 5edo. | ||
15edo is also the second-smallest edo (after [[10edo]]) that maintains [[minimal consistent EDOs|25% or lower relative error]] on all of the first eight harmonics of the [[harmonic series]]. | |||
=== Prime harmonics === | === Prime harmonics === | ||
{{Harmonics in equal|15}} | {{Harmonics in equal|15}} | ||
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{{See also|15edo-interval names}} | {{See also|15edo-interval names}} | ||
Relative to 12edo, 15edo maintains some categorically-similar intervals, particularly the 3rds, 4ths, 5ths, and 6ths, but is quite different in the categories of 2nds and 7ths. The closest intervals it has to a 12edo [[whole tone]] are both 40 cents sharp or flat of the 200-cent 12edo whole tone. This makes it rather difficult to translate traditional diatonic melodic approaches into 15edo, and also means that things like 7th, 9th, and 11th chords will behave very differently, even though major and minor triads are still relatively familiar-sounding. One step of 15edo almost exactly equals the reduced 67th harmonic, [[67/64]]. | Relative to 12edo, 15edo maintains some categorically-similar intervals, particularly the 3rds, 4ths, 5ths, and 6ths, but is quite different in the categories of 2nds and 7ths. The closest intervals it has to a 12edo [[whole tone]] are both 40 cents sharp or flat of the 200-cent 12edo whole tone. This makes it rather difficult to translate traditional diatonic melodic approaches into 15edo, and also means that things like 7th, 9th, and 11th chords will behave very differently, even though major and minor triads are still relatively familiar-sounding. One step of 15edo almost exactly equals the reduced 67th harmonic, [[67/64]]. | ||
{| class="wikitable center-all left-8" | {| class="wikitable center-all left-8" | ||
|- | |- | ||
! Degree | ! Degree | ||
! Cents | ! Cents | ||
! Approximate Ratios | ! Approximate Ratios<ref group="note">{{rd|limit=11-limit}}</ref> | ||
! [[Solfege]]<br>(porcupine-based) | ! [[Solfege]]<br>(porcupine-based) | ||
! Porcupine[7]<br>(traditional) | ! Porcupine[7]<br>(traditional) | ||
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| [[File:piano_1_1edo.mp3]] | | [[File:piano_1_1edo.mp3]] | ||
|} | |} | ||
=== Alternate interval names === | === Alternate interval names === | ||