User:CompactStar/Ed10/3: Difference between revisions
m Recategorize |
m →Properties: adapted wording from ed16/15 |
||
| Line 2: | Line 2: | ||
== Properties == | == Properties == | ||
Division of 10/3 into equal parts does not necessarily imply directly using this interval as an [[equivalence]] | Division of 10/3 into equal parts does not necessarily imply directly using this interval as an [[equivalence]]. Many, though not all, ed10/3 scales have a perceptually important [[Pseudo-octave|false octave]], with various degrees of accuracy. | ||
The structural significance of 10/3 or another thirteenth is apparent by being the the top of the upper structure of jazz voicings, as well as a fairly trivial point to split the difference between the [[3/1|tritave]] and the [[4/1|double octave]]. 10/3 is also the complete ambitus of three, later five, of the church modes{{clarify}}. | |||
One approach to ed10/3 tunings is the use of the 2:3:6 chord as the fundamental complete sonority in a very similar way to the 4:5:6 chord in meantone. Whereas in meantone it takes four [[3/2]] to get to [[5/4]], here it takes eight [[3/1]] to get to [[3/2]] (tempering out the comma 5000000/4782969 in the 5-limit). This [[regular temperament]] yields monolarge mos with 1–12 notes, followed by a 13-note [[12L 1s (10/3-equivalent)|12L 1s⟨10/3⟩]] mos. | |||
[[Category:Ed10/3| ]] <!-- main article --> | [[Category:Ed10/3| ]] <!-- main article --> | ||
[[Category:Edonoi]] | [[Category:Edonoi]] | ||
[[Category:Lists of scales]] | [[Category:Lists of scales]] | ||
Revision as of 02:08, 25 April 2025
The equal division of 10/3 (ed10/3) is a tuning obtained by dividing the just major thirteenth (10/3) into a number of equal steps.
Properties
Division of 10/3 into equal parts does not necessarily imply directly using this interval as an equivalence. Many, though not all, ed10/3 scales have a perceptually important false octave, with various degrees of accuracy.
The structural significance of 10/3 or another thirteenth is apparent by being the the top of the upper structure of jazz voicings, as well as a fairly trivial point to split the difference between the tritave and the double octave. 10/3 is also the complete ambitus of three, later five, of the church modes[clarification needed].
One approach to ed10/3 tunings is the use of the 2:3:6 chord as the fundamental complete sonority in a very similar way to the 4:5:6 chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/4, here it takes eight 3/1 to get to 3/2 (tempering out the comma 5000000/4782969 in the 5-limit). This regular temperament yields monolarge mos with 1–12 notes, followed by a 13-note 12L 1s⟨10/3⟩ mos.