27edo: Difference between revisions

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27edo, with its 400 cent major third, tempers out the lesser diesis, [[128/125]], and the septimal comma, [[64/63]], and hence [[126/125]] as well. These it shares with 12edo, making some relationships familiar, and they both support the [[augene]] temperament. It shares with [[22edo]] tempering out the allegedly Bohlen-Pierce comma [[245/243]] as well as 64/63, so that they both support the [[superpyth]] temperament, with four quite sharp "superpythagorean" fifths giving a sharp [[9/7]] in place of meantone's 5/4.

Though 27edo's [[7-limit]] tuning is not highly accurate, it nonetheless is the smallest equal division to represent the 7-odd-limit both [[consistent]]ly and distinctly—that is, everything in the [[7-odd-limit]] diamond is uniquely represented by a certain number of steps of 27edo. It also represents the 13th harmonic very well, and performs quite decently as a 2.3.5.7.13.19 (no-11s, no-17s 19-limit) temperament. It also approximates [[19/10]], [[19/12]], and [[19/14]], so {{dash|0, 7, 13, 25|med}} does quite well as a 10:12:14:19 chord, with the major seventh 25\27 being less than one cent off from 19/10. Octave-inverted, these also form a quite convincing approximation of the main ~~Bohlen–Pierce~~ triads, 3:5:7 and 5:7:9, making 27 the smallest edo that can simulate tritave harmony, although it rapidly becomes rough if extended to the 11 and above, unlike a true tritave based system.

Though 27edo's [[7-limit]] tuning is not highly accurate, it nonetheless is the smallest equal division to represent the 7-odd-limit both [[consistent]]ly and distinctly—that is, everything in the [[7-odd-limit]] diamond is uniquely represented by a certain number of steps of 27edo. It also represents the 13th harmonic very well, and performs quite decently as a 2.3.5.7.13.19 (no-11s, no-17s 19-limit) temperament. It also approximates [[19/10]], [[19/12]], and [[19/14]], so {{dash|0, 7, 13, 25|med}} does quite well as a 10:12:14:19 chord, with the major seventh 25\27 being less than one cent off from 19/10. Octave-inverted, these also form a quite convincing approximation of the main Bohlen–Pierce triads, 3:5:7 and 5:7:9, making 27 the smallest edo that can simulate tritave harmony, although it rapidly becomes rough if extended to the 11 and above, unlike a true tritave based system.

Its step, as well as the octave-inverted and octave-equivalent versions of it, has some of the highest [[harmonic entropy]] possible and thus is, in theory, one of the most dissonant intervals possible, assuming the relatively common values of {{nowrap|''a'' {{=}} 2}} and {{nowrap|''s'' {{=}} 1%}}. This property is shared with all edos between around 24 and 30. Intervals smaller than this tend to be perceived as unison and are more consonant as a result; intervals larger than this have less "tension" and thus are also more consonant.

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|-

| fourthward wa

| {a, b}, b < ~~−1~~

| {a, b}, b < −1

| 32/27, 16/9

|-

Line 533:

The 27-note system can be notated using [[ups and downs notation]], in which case arrows or [[Helmholtz-Ellis notation|Helmholtz–Ellis]] accidentals can be used, or with a variation on quarter tone accidentals. With standard [[circle-of-fifths notation]], a sharp raises a note by 4 steps, just one step beneath the following nominal (for example C to C♯ describes the approximate 10/9 and 11/10 interval) and the flat conversely lowers: these are augmented unisons and diminished unisons. Just so, one finds that an accidental can be divided in half, and the remaining places can then be filled in with half-sharps, half-flats, sesquisharps, and sesquiflats, reducing the need for double sharps and double flats.The notes from C to D are C, D♭, C{{demisharp2}}, D{{demiflat2}}, C♯, and D, with some ascending intervals appearing to be descending on the staff.

Another notational implication is that, being a Superpythagorean system, the 5/4 major third present in the 4:5:6 chord is technically an augmented second, since (for example) ~~C–E~~ is a 9/7 supermajor third and so the note located one major third above C must be notated as D♯ or E{{naturaldown}}. Conversely, the 6/5 minor third of a 10:12:15 chord is actually reached by a diminished fourth, since (for example) ~~D–F~~ is a 7/6 subminor third and so the note located one minor third above D must be notated as either G♭ or F{{naturalup}}. The composer can decide for themselves which additional accidental pair is appropriate if they will need redundancy to remedy these problems, and to keep the chromatic pitches within a compass on paper relative to the natural names (C, D, E etc.). Otherwise it is simple enough, and the same tendency for A♯ to be higher than B♭ is not only familiar, though here very exaggerated, to those working with the Pythagorean scale (see [[53edo]]), but also to many classically trained violinists.

Another notational implication is that, being a Superpythagorean system, the 5/4 major third present in the 4:5:6 chord is technically an augmented second, since (for example) C–E is a 9/7 supermajor third and so the note located one major third above C must be notated as D♯ or E{{naturaldown}}. Conversely, the 6/5 minor third of a 10:12:15 chord is actually reached by a diminished fourth, since (for example) D–F is a 7/6 subminor third and so the note located one minor third above D must be notated as either G♭ or F{{naturalup}}. The composer can decide for themselves which additional accidental pair is appropriate if they will need redundancy to remedy these problems, and to keep the chromatic pitches within a compass on paper relative to the natural names (C, D, E etc.). Otherwise it is simple enough, and the same tendency for A♯ to be higher than B♭ is not only familiar, though here very exaggerated, to those working with the Pythagorean scale (see [[53edo]]), but also to many classically trained violinists.

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=== 6L 1s (archeotonic) notation ===

The notation of Tetracot[7]. Notes are denoted as {{nowrap|LLLLLLs {{=}} CDEFGABC}}, and raising and lowering by a chroma {{nowrap|(L ~~−~~ s)}}, 1 step in this instance, is denoted by ♯ and ♭.

The notation of Tetracot[7]. Notes are denoted as {{nowrap|LLLLLLs {{=}} CDEFGABC}}, and raising and lowering by a chroma {{nowrap|(L − s)}}, 1 step in this instance, is denoted by ♯ and ♭.

{| class="wikitable center-1 right-2 center-3 mw-collapsible mw-collapsed"

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== Zeta properties ==

===Zeta peak index===

=== Zeta peak index ===

{| class="wikitable"

~~! colspan="3" |Tuning~~

~~! colspan="3" |Strength~~

~~! colspan="2" |Closest EDO~~

~~! colspan="2" |Integer limit~~

|-

!ZPI

! colspan="3" | Tuning

!Steps per octave

! colspan="3" | Strength

!Step size (cents)

! colspan="2" | Closest EDO

!Height

! colspan="2" | Integer limit

!Integral

|-

! ZPI

! Steps per octave

! Step size (cents)

! Height

! Integral

! Gap

! EDO

!Octave (cents)

! Octave (cents)

!Consistent

! Consistent

!Distinct

! Distinct

|-

|[[106zpi]]

| [[106zpi]]

|27.0866140827635

| 27.0866140827635

|44.3023257293579

| 44.3023257293579

|6.069233

| 6.069233

|1.185939

| 1.185939

|16.215619

| 16.215619

|27edo

| 27edo

|1196.16279469266

| 1196.16279469266

|10

| 10

|8

| 8

|}

== Scales ==

=== MOS scales ===

* Superpyth pentatonic ~~–~~ Superpyth[5] [[2L 3s]] (gen = 11\27): 5 5 6 5 6

* Superpyth pentatonic – Superpyth[5] [[2L 3s]] (gen = 11\27): 5 5 6 5 6

* Superpyth diatonic ~~–~~ Superpyth[7] [[5L 2s]] (gen = 11\27): 5 5 1 5 5 5 1

* Superpyth diatonic – Superpyth[7] [[5L 2s]] (gen = 11\27): 5 5 1 5 5 5 1

* Superpyth chromatic ~~–~~ Superpyth[12] [[5L 7s]] (gen = 11\27): 4 1 1 4 1 4 1 4 1 1 4 1

* Superpyth chromatic – Superpyth[12] [[5L 7s]] (gen = 11\27): 4 1 1 4 1 4 1 4 1 1 4 1

* Superpyth hyperchromatic ~~–~~ Superpyth[17] [[5L 12s]] (gen = 11\27): 1 3 1 1 3 1 1 1 3 1 1 3 1 1 3 1 1

* Superpyth hyperchromatic – Superpyth[17] [[5L 12s]] (gen = 11\27): 1 3 1 1 3 1 1 1 3 1 1 3 1 1 3 1 1

* Augene[6] [[3L 3s]] (period = 9\27, gen = 2\27): 7 2 7 2 7 2

* Augene[9] [[3L 6s]] (period = 9\27, gen = 2\27): 5 2 2 5 2 2 5 2 2

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* enharmonic trichord octave species: 9 2 5 9 2, 2 9 5 2 9

* 5-limit / pental double harmonic hexatonic (Augmented[6] [[4M]]): 2 7 2 7 7 2, 7 7 2 2 7 2

* Superpyth melodic minor ~~–~~ Superpyth 2|4 #6 #7 or 5|1 b3: 5 1 5 5 5 5 1

* Superpyth melodic minor – Superpyth 2|4 #6 #7 or 5|1 b3: 5 1 5 5 5 5 1

* Superpyth harmonic minor ~~–~~ Superpyth 2|4 #7: 5 1 5 5 1 9 1

* Superpyth harmonic minor – Superpyth 2|4 #7: 5 1 5 5 1 9 1

* Superpyth harmonic major ~~–~~ Superpyth 5|1 b6: 5 5 1 5 1 9 1

* Superpyth harmonic major – Superpyth 5|1 b6: 5 5 1 5 1 9 1

* Superpyth double harmonic major ~~–~~ Superpyth 5|1 b2 b6: 1 9 1 5 1 9 1

* Superpyth double harmonic major – Superpyth 5|1 b2 b6: 1 9 1 5 1 9 1

* [[Zarlino]] / Ptolemy diatonic, "just" major: 5 4 2 5 4 5 2

* "Just" minor (inverse of "just" major): 5 2 4 5 2 5 4

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; [[Igliashon Jones]]

* [https://web.archive.org/web/20201127012539/http://micro.soonlabel.com/gene_ward_smith/Others/Igs/Sad%20Like%20Winter%20Leaves.mp3 ''Sad Like Winter Leaves''] ~~–~~ in Augene[12] tuned to 27edo

* [https://web.archive.org/web/20201127012539/http://micro.soonlabel.com/gene_ward_smith/Others/Igs/Sad%20Like%20Winter%20Leaves.mp3 ''Sad Like Winter Leaves''] – in Augene[12] tuned to 27edo

* [[:File:Superpythagorean_Waltz.mp3|''Superpythagorean Waltz'']] (2012)

* [https://pixelarchipelago.bandcamp.com/track/stuttering-anticipation-27edo ''Stuttering Anticipation''] (2021)

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; [[Gene Ward Smith]]

* [https://www.archive.org/details/MusicForYourEars ''Music For Your Ears''] [https://www.archive.org/download/MusicForYourEars/musicfor.mp3 play] ~~–~~ the central portion is in 27edo, the rest in [[46edo]].

* [https://www.archive.org/details/MusicForYourEars ''Music For Your Ears''] [https://www.archive.org/download/MusicForYourEars/musicfor.mp3 play] – the central portion is in 27edo, the rest in [[46edo]].

; [[Joel Taylor]]

* [https://web.archive.org/web/20201127012922/http://micro.soonlabel.com/gene_ward_smith/Others/Taylor/12of27sonatina.mp3 ''Galticeran Sonatina''] ~~–~~ in Augene[12] tuned to 27edo

* [https://web.archive.org/web/20201127012922/http://micro.soonlabel.com/gene_ward_smith/Others/Taylor/12of27sonatina.mp3 ''Galticeran Sonatina''] – in Augene[12] tuned to 27edo

; [[Tristan Bay]]

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; [[Xotla]]

* "Funkrotonal" from ''Microtonal Allsorts'' (2023) ~~–~~ [https://open.spotify.com/track/1zjNkbm8kIkuCxtodyFCL0 Spotify] | [https://xotla.bandcamp.com/track/funkrotonal-27edo Bandcamp] | [https://www.youtube.com/watch?v=7gt1BBJuJsE YouTube]

* "Funkrotonal" from ''Microtonal Allsorts'' (2023) – [https://open.spotify.com/track/1zjNkbm8kIkuCxtodyFCL0 Spotify] | [https://xotla.bandcamp.com/track/funkrotonal-27edo Bandcamp] | [https://www.youtube.com/watch?v=7gt1BBJuJsE YouTube]

== Notes ==

@@ Line 8: / Line 8: @@
 edo, with its 400 cent major third, tempers out the lesser diesis, [[128/125]], and the septimal comma, [[64/63]], and hence [[126/125]] as well. These it shares with 12edo, making some relationships familiar, and they both support the [[augene]] temperament. It shares with [[22edo]] tempering out the allegedly Bohlen-Pierce comma [[245/243]] as well as 64/63, so that they both support the [[superpyth]] temperament, with four quite sharp "superpythagorean" fifths giving a sharp [[9/7]] in place of meantone's 5/4.
-Though 27edo's [[7-limit]] tuning is not highly accurate, it nonetheless is the smallest equal division to represent the 7-odd-limit both [[consistent]]ly and distinctly&mdash;that is, everything in the [[7-odd-limit]] diamond is uniquely represented by a certain number of steps of 27edo. It also represents the 13th harmonic very well, and performs quite decently as a 2.3.5.7.13.19 (no-11s, no-17s 19-limit) temperament. It also approximates [[19/10]], [[19/12]], and [[19/14]], so {{dash|0, 7, 13, 25|med}} does quite well as a 10:12:14:19 chord, with the major seventh 25\27 being less than one cent off from 19/10. Octave-inverted, these also form a quite convincing approximation of the main Bohlen&ndash;Pierce triads, 3:5:7 and 5:7:9, making 27 the smallest edo that can simulate tritave harmony, although it rapidly becomes rough if extended to the 11 and above, unlike a true tritave based system.
+Though 27edo's [[7-limit]] tuning is not highly accurate, it nonetheless is the smallest equal division to represent the 7-odd-limit both [[consistent]]ly and distinctly&mdash;that is, everything in the [[7-odd-limit]] diamond is uniquely represented by a certain number of steps of 27edo. It also represents the 13th harmonic very well, and performs quite decently as a 2.3.5.7.13.19 (no-11s, no-17s 19-limit) temperament. It also approximates [[19/10]], [[19/12]], and [[19/14]], so {{dash|0, 7, 13, 25|med}} does quite well as a 10:12:14:19 chord, with the major seventh 25\27 being less than one cent off from 19/10. Octave-inverted, these also form a quite convincing approximation of the main Bohlen–Pierce triads, 3:5:7 and 5:7:9, making 27 the smallest edo that can simulate tritave harmony, although it rapidly becomes rough if extended to the 11 and above, unlike a true tritave based system.
 Its step, as well as the octave-inverted and octave-equivalent versions of it, has some of the highest [[harmonic entropy]] possible and thus is, in theory, one of the most dissonant intervals possible, assuming the relatively common values of {{nowrap|''a'' {{=}} 2}} and {{nowrap|''s'' {{=}} 1%}}. This property is shared with all edos between around 24 and 30. Intervals smaller than this tend to be perceived as unison and are more consonant as a result; intervals larger than this have less "tension" and thus are also more consonant.
@@ Line 322: / Line 322: @@
 |-
 | fourthward wa
-| {a, b}, b &lt; &minus;1
+| {a, b}, b &lt; −1
 | 32/27, 16/9
 |-
@@ Line 533: / Line 533: @@
 The 27-note system can be notated using [[ups and downs notation]], in which case arrows or [[Helmholtz-Ellis notation|Helmholtz–Ellis]] accidentals can be used, or with a variation on quarter tone accidentals. With standard [[circle-of-fifths notation]], a sharp raises a note by 4 steps, just one step beneath the following nominal (for example C to C♯ describes the approximate 10/9 and 11/10 interval) and the flat conversely lowers: these are augmented unisons and diminished unisons. Just so, one finds that an accidental can be divided in half, and the remaining places can then be filled in with half-sharps, half-flats, sesquisharps, and sesquiflats, reducing the need for double sharps and double flats.The notes from C to D are C, D&#x266D;, C{{demisharp2}}, D{{demiflat2}}, C&#x266F;, and D, with some ascending intervals appearing to be descending on the staff.
-Another notational implication is that, being a Superpythagorean system, the 5/4 major third present in the 4:5:6 chord is technically an augmented second, since (for example) C&ndash;E is a 9/7 supermajor third and so the note located one major third above C must be notated as D♯ or E{{naturaldown}}. Conversely, the 6/5 minor third of a 10:12:15 chord is actually reached by a diminished fourth, since (for example) D&ndash;F is a 7/6 subminor third and so the note located one minor third above D must be notated as either G&#x266D; or F{{naturalup}}. The composer can decide for themselves which additional accidental pair is appropriate if they will need redundancy to remedy these problems, and to keep the chromatic pitches within a compass on paper relative to the natural names (C, D, E etc.). Otherwise it is simple enough, and the same tendency for A♯ to be higher than B&#x266D; is not only familiar, though here very exaggerated, to those working with the Pythagorean scale (see [[53edo]]), but also to many classically trained violinists.
+Another notational implication is that, being a Superpythagorean system, the 5/4 major third present in the 4:5:6 chord is technically an augmented second, since (for example) C–E is a 9/7 supermajor third and so the note located one major third above C must be notated as D♯ or E{{naturaldown}}. Conversely, the 6/5 minor third of a 10:12:15 chord is actually reached by a diminished fourth, since (for example) D–F is a 7/6 subminor third and so the note located one minor third above D must be notated as either G&#x266D; or F{{naturalup}}. The composer can decide for themselves which additional accidental pair is appropriate if they will need redundancy to remedy these problems, and to keep the chromatic pitches within a compass on paper relative to the natural names (C, D, E etc.). Otherwise it is simple enough, and the same tendency for A♯ to be higher than B&#x266D; is not only familiar, though here very exaggerated, to those working with the Pythagorean scale (see [[53edo]]), but also to many classically trained violinists.
 {{sharpness-sharp4}}
@@ Line 579: / Line 579: @@
 === 6L 1s (archeotonic) notation ===
-The notation of Tetracot[7]. Notes are denoted as {{nowrap|LLLLLLs {{=}} CDEFGABC}}, and raising and lowering by a chroma {{nowrap|(L &minus; s)}}, 1 step in this instance, is denoted by &#x266F; and &#x266D;.
+The notation of Tetracot[7]. Notes are denoted as {{nowrap|LLLLLLs {{=}} CDEFGABC}}, and raising and lowering by a chroma {{nowrap|(L − s)}}, 1 step in this instance, is denoted by &#x266F; and &#x266D;.
 {| class="wikitable center-1 right-2 center-3 mw-collapsible mw-collapsed"
@@ Line 1,116: / Line 1,116: @@
 == Zeta properties ==
-===Zeta peak index===
+=== Zeta peak index ===
 {| class="wikitable"
-! colspan="3" |Tuning
-! colspan="3" |Strength
-! colspan="2" |Closest EDO
-! colspan="2" |Integer limit
 |-
-!ZPI
+! colspan="3" | Tuning
-!Steps per octave
+! colspan="3" | Strength
-!Step size (cents)
+! colspan="2" | Closest EDO
-!Height
+! colspan="2" | Integer limit
-!Integral
+|-
+! ZPI
+! Steps per octave
+! Step size (cents)
+! Height
+! Integral
 ! Gap
 ! EDO
-!Octave (cents)
+! Octave (cents)
-!Consistent
+! Consistent
-!Distinct
+! Distinct
 |-
-|[[106zpi]]
+| [[106zpi]]
-|27.0866140827635
+| 27.0866140827635
-|44.3023257293579
+| 44.3023257293579
-|6.069233
+| 6.069233
-|1.185939
+| 1.185939
-|16.215619
+| 16.215619
-|27edo
+| 27edo
-|1196.16279469266
+| 1196.16279469266
-|10
+| 10
-|8
+| 8
 |}
 == Scales ==
 === MOS scales ===
 {{Main|List of MOS scales in 27edo}}
-* Superpyth pentatonic &ndash; Superpyth[5] [[2L 3s]] (gen = 11\27): 5 5 6 5 6
+* Superpyth pentatonic – Superpyth[5] [[2L 3s]] (gen = 11\27): 5 5 6 5 6
-* Superpyth diatonic &ndash; Superpyth[7] [[5L 2s]] (gen = 11\27): 5 5 1 5 5 5 1
+* Superpyth diatonic – Superpyth[7] [[5L 2s]] (gen = 11\27): 5 5 1 5 5 5 1
-* Superpyth chromatic &ndash; Superpyth[12] [[5L 7s]] (gen = 11\27): 4 1 1 4 1 4 1 4 1 1 4 1
+* Superpyth chromatic – Superpyth[12] [[5L 7s]] (gen = 11\27): 4 1 1 4 1 4 1 4 1 1 4 1
-* Superpyth hyperchromatic &ndash; Superpyth[17] [[5L 12s]] (gen = 11\27): 1 3 1 1 3 1 1 1 3 1 1 3 1 1 3 1 1
+* Superpyth hyperchromatic – Superpyth[17] [[5L 12s]] (gen = 11\27): 1 3 1 1 3 1 1 1 3 1 1 3 1 1 3 1 1
 * Augene[6] [[3L 3s]] (period = 9\27, gen = 2\27): 7 2 7 2 7 2
 * Augene[9] [[3L 6s]] (period = 9\27, gen = 2\27): 5 2 2 5 2 2 5 2 2
@@ Line 1,182: / Line 1,184: @@
 * enharmonic trichord octave species: 9 2 5 9 2, 2 9 5 2 9
 * 5-limit / pental double harmonic  hexatonic (Augmented[6] [[4M]]): 2 7 2 7 7 2, 7 7 2 2 7 2
-* Superpyth melodic minor &ndash; Superpyth 2|4 #6 #7 or 5|1 b3: 5 1 5 5 5 5 1
+* Superpyth melodic minor – Superpyth 2|4 #6 #7 or 5|1 b3: 5 1 5 5 5 5 1
-* Superpyth harmonic minor &ndash; Superpyth 2|4 #7: 5 1 5 5 1 9 1
+* Superpyth harmonic minor – Superpyth 2|4 #7: 5 1 5 5 1 9 1
-* Superpyth harmonic major &ndash; Superpyth 5|1 b6: 5 5 1 5 1 9 1
+* Superpyth harmonic major – Superpyth 5|1 b6: 5 5 1 5 1 9 1
-* Superpyth double harmonic major &ndash; Superpyth 5|1 b2 b6: 1 9 1 5 1 9 1
+* Superpyth double harmonic major – Superpyth 5|1 b2 b6: 1 9 1 5 1 9 1
 * [[Zarlino]] / Ptolemy diatonic, "just" major: 5 4 2 5 4 5 2
 * "Just" minor (inverse of "just" major): 5 2 4 5 2 5 4
@@ Line 1,260: / Line 1,262: @@
 ; [[Igliashon Jones]]
-* [https://web.archive.org/web/20201127012539/http://micro.soonlabel.com/gene_ward_smith/Others/Igs/Sad%20Like%20Winter%20Leaves.mp3 ''Sad Like Winter Leaves''] &ndash; in Augene[12] tuned to 27edo
+* [https://web.archive.org/web/20201127012539/http://micro.soonlabel.com/gene_ward_smith/Others/Igs/Sad%20Like%20Winter%20Leaves.mp3 ''Sad Like Winter Leaves''] – in Augene[12] tuned to 27edo
 * [[:File:Superpythagorean_Waltz.mp3|''Superpythagorean Waltz'']] (2012)
 * [https://pixelarchipelago.bandcamp.com/track/stuttering-anticipation-27edo ''Stuttering Anticipation''] (2021)
@@ Line 1,283: / Line 1,285: @@
 ; [[Gene Ward Smith]]
-* [https://www.archive.org/details/MusicForYourEars ''Music For Your Ears''] [https://www.archive.org/download/MusicForYourEars/musicfor.mp3 play] &ndash; the central portion is in 27edo, the rest in [[46edo]].
+* [https://www.archive.org/details/MusicForYourEars ''Music For Your Ears''] [https://www.archive.org/download/MusicForYourEars/musicfor.mp3 play] – the central portion is in 27edo, the rest in [[46edo]].
 ; [[Joel Taylor]]
-* [https://web.archive.org/web/20201127012922/http://micro.soonlabel.com/gene_ward_smith/Others/Taylor/12of27sonatina.mp3 ''Galticeran Sonatina''] &ndash; in Augene[12] tuned to 27edo
+* [https://web.archive.org/web/20201127012922/http://micro.soonlabel.com/gene_ward_smith/Others/Taylor/12of27sonatina.mp3 ''Galticeran Sonatina''] – in Augene[12] tuned to 27edo
 ; [[Tristan Bay]]
@@ Line 1,295: / Line 1,297: @@
 ; [[Xotla]]
-* "Funkrotonal" from ''Microtonal Allsorts'' (2023) &ndash; [https://open.spotify.com/track/1zjNkbm8kIkuCxtodyFCL0 Spotify] | [https://xotla.bandcamp.com/track/funkrotonal-27edo Bandcamp] | [https://www.youtube.com/watch?v=7gt1BBJuJsE YouTube]
+* "Funkrotonal" from ''Microtonal Allsorts'' (2023) – [https://open.spotify.com/track/1zjNkbm8kIkuCxtodyFCL0 Spotify] | [https://xotla.bandcamp.com/track/funkrotonal-27edo Bandcamp] | [https://www.youtube.com/watch?v=7gt1BBJuJsE YouTube]
 == Notes ==