User:BudjarnLambeth/Structural beating: Difference between revisions
| Line 23: | Line 23: | ||
If the equivalence is considered to be the double octave, 4/1, the perfect fifteenth, then one would expect equal divisions of fourteenths or sixteenths to have the most vivid structural beating. That would include tunings like [[ed7/2]]s, [[ed11/3]]s, [[ed15/4]]s & [[ed9/2]]s. | If the equivalence is considered to be the double octave, 4/1, the perfect fifteenth, then one would expect equal divisions of fourteenths or sixteenths to have the most vivid structural beating. That would include tunings like [[ed7/2]]s, [[ed11/3]]s, [[ed15/4]]s & [[ed9/2]]s. | ||
If the equivalence is considered to be the pentave, 5/1, the classic major seventeenth, then one would expect equal divisions of sixteenths or eighteenths to have the most vivid structural beating. That would include tunings like [[ed9/2]]s & [[ed11/2]]s. | If the equivalence is considered to be the pentave, 5/1, the classic major seventeenth, then one would expect equal divisions of sixteenths, seventeenths or eighteenths to have the most vivid structural beating. That would include tunings like [[ed9/2]]s & [[ed11/2]]s. | ||
[[Category:Equal-step tuning]] | [[Category:Equal-step tuning]] | ||