User:CompactStar/Ed10/3: Difference between revisions
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The '''equal division of 10/3''' ('''ed10/3''') is a [[tuning]] obtained by dividing the [[10/3|just major thirteenth (10/3)]] into a number of [[equal]] steps. | The '''equal division of 10/3''' ('''ed10/3''') is a [[tuning]] obtained by dividing the [[10/3|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 [[Pseudo-octave|false octave]], with various degrees of accuracy. | 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. | ||
Revision as of 23:43, 4 May 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.