Bozuji tuning: Difference between revisions

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== Summary ==

Bozuji tuning is a [[5-limit|5-limit just intonation]] tuning set with specified intervals proposed by [[Bostjan Zupancic]] ('''Bo'''stjan '''Zu'''pancic '''J'''ust '''I'''ntonation), which are closely related to the tones available in meantone temperament. The [[Bathomotonic|approach]] to generating the intervals is somewhat unique, as all intervals were generated by choosing adaptive step sizes (which have been shown to work with software keyboards, see AdaptiveJI) and stepping through scales with different tonalities. The tuning contains 23 intervals per [[octave]], and it is intended to be an expansion of [[wikipedia:Ptolemy's_intense_diatonic_scale|Ptolemy's Intense Diatonic Scale]].

== Interval Base ==

The basis for the tuning is the [[Diatonic, ~~Chromatic~~, ~~Enharmonic~~, ~~Subchromatic~~|diatonic scale]]. Using seven notes as a rough framework to step through a scale and ultimately get to a perfect octave. The rough intervals are simply those given by classical western music theory scale degrees: unison (1), the second (2), the third (3), the fourth (4), the fifth (5), the sixth (6), and the seventh (7). The octave is taken for granted as exactly double the frequency of unison, and then the scale repeats the same intervals from there, such that the ninth is equivalent to the second, the tenth is equivalent to the third, and so on.

The basis for the tuning is the [[Diatonic, chromatic, enharmonic, subchromatic|diatonic scale]]. Using seven notes as a rough framework to step through a scale and ultimately get to a perfect octave. The rough intervals are simply those given by classical western music theory scale degrees: unison (1), the second (2), the third (3), the fourth (4), the fifth (5), the sixth (6), and the seventh (7). The octave is taken for granted as exactly double the frequency of unison, and then the scale repeats the same intervals from there, such that the ninth is equivalent to the second, the tenth is equivalent to the third, and so on.

This approach considers three general kinds of scale degrees: reference, perfect, and imperfect.

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 == Summary ==
-Bozuji tuning is a [[5-limit|5-limit just intonation]] tuning set with specified intervals proposed by [[Bostjan Zupancic]] ('''Bo'''stjan '''Zu'''pancic '''J'''ust '''I'''ntonation), which are closely related to the tones available in meantone temperament.  The [[Bathomotonic|approach]] to generating the intervals is somewhat unique, as all intervals were generated by choosing adaptive step sizes (which have been shown to work with software keyboards, see AdaptiveJI) and stepping through scales with different tonalities.  The tuning contains 23 intervals per [[octave]], and it is intended to be an expansion of [[wikipedia:Ptolemy's_intense_diatonic_scale|Ptolemy's Intense Diatonic Scale]].
+Bozuji tuning is a [[5-limit|5-limit just intonation]] tuning set with specified intervals proposed by [[Bostjan Zupancic]] ('''Bo'''stjan '''Zu'''pancic '''J'''ust '''I'''ntonation), which are closely related to the tones available in meantone temperament. The [[Bathomotonic|approach]] to generating the intervals is somewhat unique, as all intervals were generated by choosing adaptive step sizes (which have been shown to work with software keyboards, see AdaptiveJI) and stepping through scales with different tonalities.  The tuning contains 23 intervals per [[octave]], and it is intended to be an expansion of [[wikipedia:Ptolemy's_intense_diatonic_scale|Ptolemy's Intense Diatonic Scale]].
 == Interval Base ==
-The basis for the tuning is the [[Diatonic, Chromatic, Enharmonic, Subchromatic|diatonic scale]].  Using seven notes as a rough framework to step through a scale and ultimately get to a perfect octave.  The rough intervals are simply those given by classical western music theory scale degrees: unison (1), the second (2), the third (3), the fourth (4), the fifth (5), the sixth (6), and the seventh (7).  The octave is taken for granted as exactly double the frequency of unison, and then the scale repeats the same intervals from there, such that the ninth is equivalent to the second, the tenth is equivalent to the third, and so on.
+The basis for the tuning is the [[Diatonic, chromatic, enharmonic, subchromatic|diatonic scale]].  Using seven notes as a rough framework to step through a scale and ultimately get to a perfect octave.  The rough intervals are simply those given by classical western music theory scale degrees: unison (1), the second (2), the third (3), the fourth (4), the fifth (5), the sixth (6), and the seventh (7).  The octave is taken for granted as exactly double the frequency of unison, and then the scale repeats the same intervals from there, such that the ninth is equivalent to the second, the tenth is equivalent to the third, and so on.
 This approach considers three general kinds of scale degrees: reference, perfect, and imperfect.