Equal-step tuning: Difference between revisions

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The most often used edonoi include the equal-tempering of the [[BP|Bohlen—Pierce scale]] (i.e. [[13edt|13 equal divisions of 3]]), the [[Phoenix]] tuning, tunings of [[Carlos Alpha]], [[Carlos Beta|Beta]], and [[Carlos Gamma|Gamma]], the [[19edt|19 equal divisions of 3]], the [[6edf|6 equal divisions of 3/2]], the [[2ed13/10|2 equal divisions of 13/10]], and [[88cET]]. For a more extensive gallery, see the "equal divisions" section above.

Some edonoi contain an interval close to [[2/1]] that might function like a [[Stretched and compressed tuning|stretched]] ~~or squashed~~ octave — those edonoi can thus be considered variations on edos.

Some edonoi contain an interval close to [[2/1]] that might function like a [[Stretched and compressed tuning|stretched or squashed]] octave — those edonoi can thus be considered variations on edos.

Other edonoi contain no approximation of an octave or a compound octave (at least, not for a while), and continue generating new tones as they continue upward or downward. Such scales lack a very familiar compositional redundancy, that of [[octave equivalence]], which might require special attention.

@@ Line 118: / Line 118: @@
 The most often used edonoi include the equal-tempering of the [[BP|Bohlen—Pierce scale]] (i.e. [[13edt|13 equal divisions of 3]]), the [[Phoenix]] tuning, tunings of [[Carlos Alpha]], [[Carlos Beta|Beta]], and [[Carlos Gamma|Gamma]], the [[19edt|19 equal divisions of 3]], the [[6edf|6 equal divisions of 3/2]], the [[2ed13/10|2 equal divisions of 13/10]], and [[88cET]]. For a more extensive gallery, see the "equal divisions" section above.
-Some edonoi contain an interval close to [[2/1]] that might function like a [[Stretched and compressed tuning|stretched]] or squashed octave — those edonoi can thus be considered variations on edos.
+Some edonoi contain an interval close to [[2/1]] that might function like a [[Stretched and compressed tuning|stretched or squashed]] octave — those edonoi can thus be considered variations on edos.
 Other edonoi contain no approximation of an octave or a compound octave (at least, not for a while), and continue generating new tones as they continue upward or downward. Such scales lack a very familiar compositional redundancy, that of [[octave equivalence]], which might require special attention.