13edo: Difference between revisions
m Text replacement - "Ups and Downs Notation" to "Ups and downs notation" Tags: Mobile edit Mobile web edit |
Reorder sections to be more similar to other edo pages |
||
| Line 1,120: | Line 1,120: | ||
default [[File:13-EDO_Revo_Sagittal.svg]] | default [[File:13-EDO_Revo_Sagittal.svg]] | ||
</imagemap> | </imagemap> | ||
== Notational and compositional approaches == | |||
13edo has drawn the attention of numerous composers and theorists, some of whom have devoted some effort to provide a notation and an outline of a compositional approach to it. Some of these are described below. | |||
=== The Cryptic Ruse Methods === | |||
13edo offers two main candidates for diatonic-like scales: the 6L 1s heptatonic MOS generated by 2\13, and the 5L 3s octatonic MOS. Both of these scales are [[Rothenberg propriety|Rothenberg proper]], and bear a slightly-twisted resemblance to the 12edo diatonic scale. Specifically, the 6L 1s scale resembles the 12edo diatonic with one of its semitones replaced with a whole-tone, while the 5L 3s scale resembles the 12edo diatonic with an extra semitone inserted between two adjacent whole-tones. | |||
To facilitate discussion of these scales, [[Cryptic Ruse]] has ascribed them names based on H.P. Lovecraft's "Dream Cycle" mythos. | |||
==== Modes and harmony in the archaeotonic scale ==== | |||
The 2\13-based heptatonic has been named '''archaeotonic''' after the "Old Ones" that rule the Dreamlands. Modes of the archaeotonic are named after the individual Old Ones. | |||
A 7-nominal notation is proposed, using the letters A-G. The "C natural" scale is proposed to be degrees 0-2-4-6-8-10-12-(13), with the note "C" tuned to a reference pitch of concert middle C. The modes are laid out in the following table, excerpted from an unfinished paper on 13-edo. | |||
[[File:Archaeotonic.png|Archaeotonic.png|link=Special:FilePath/Archaeotonic.png]] | |||
Treating 13edo as a temperament as proposed above leads to a chord of degrees 0-2-4-6-9 representing the JI harmony 8:9:10:11:13; two such pentads exist in this scale, on E and F. Smaller harmonic units exist as follows: 8:9:10:11 on C, D, E, and F; 8:9:10:13 on E, F and G; 8:9:10 on C, D, E, F, and G; 8:9:11 on C, D, E, and F; 8:9:13 on E, F, G, and A. Finally, on B we have the relatively-discordant 16:17:21:26 (0-1-5-9, or the notes B-C-E-G), which can be octave-inverted into a more concordant 8:13:17:21. | |||
There may be other concordant harmonies possible in this scale that do not represent segments of the harmonic series; further exploration is pending. | |||
==== Modes and harmony in the oneirotonic scale ==== | |||
The 5\13-based octatonic has been named '''[[oneirotonic]]''' after the Dreamlands themselves. Modes of the oneirotonic are named after cities in the Dreamlands. | |||
Here an 8-nominal notation is proposed, using letters A-H. The "C natural" scale is proposed to be degrees 0-2-4-5-7-9-10-12-(13), with the note "C" tuned to concert middle C. The modes are laid out in the following table, excerpted from an unfinished paper on 13edo. | |||
[[File:Oneirotonic.png|alt=Oneirotonic.png|Oneirotonic.png]] | |||
There is a great number of potential consonant harmonies in this scale. A dedicated article on harmony and tonality in the oneirotonic scale is forthcoming. | |||
== Approximation to JI == | == Approximation to JI == | ||
| Line 1,125: | Line 1,153: | ||
[[File:13ed2-001.svg|alt=alt : Your browser has no SVG support.]] | [[File:13ed2-001.svg|alt=alt : Your browser has no SVG support.]] | ||
=== Local zeta peak === | === Local zeta peak and octave stretch === | ||
{{Main | 13edo and optimal octave stretching }} | {{Main | 13edo and optimal octave stretching }} | ||
At the [[13edo and optimal octave stretching|local zeta peak of 13edo]], there is an improvement in both [[acoustic phi]] and [[logarithmic phi]]. | At the [[13edo and optimal octave stretching|local zeta peak of 13edo]], there is an improvement in both [[acoustic phi]] and [[logarithmic phi]]. | ||
== Tuning by ear == | === Tuning by ear === | ||
13edo can be approximated by a circle of [[64/49]] subminor fourths (which can be tuned by tuning two [[7/4]] subminor sevenths). A stack of 13 of these subfourths closes with an error of +10.526432¢, or +11% of 13-edo's step size. | 13edo can be approximated by a circle of [[64/49]] subminor fourths (which can be tuned by tuning two [[7/4]] subminor sevenths). A stack of 13 of these subfourths closes with an error of +10.526432¢, or +11% of 13-edo's step size. | ||
| Line 1,155: | Line 1,183: | ||
| 3.179 | | 3.179 | ||
|} | |} | ||
== Harmony in 13edo == | == Harmony in 13edo == | ||
| Line 1,199: | Line 1,209: | ||
[[File:13_edo_45921_chord.mp3]] | [[File:13_edo_45921_chord.mp3]] | ||
== | == Regular temperament properties == | ||
=== Uniform maps === | |||
{{Uniform map|edo=13}} | |||
=== Commas === | |||
13et [[tempering out|tempers out]] the following [[comma]]s. (Note: This assumes the [[val]] {{val| 13 21 30 36 45 48 }}.) | |||
{| class="commatable wikitable center-1 center-2 right-4 center-5" | |||
|- | |||
! [[Harmonic limit|Prime<br>limit]] | |||
! [[Ratio]]<ref>Ratios longer than 10 digits are presented by placeholders with informative hints</ref> | |||
! [[Monzo]] | |||
! [[Cent]]s | |||
! [[Color name]] | |||
! Name(s) | |||
|- | |||
| 5 | |||
| [[2109375/2097152|(14 digits)]] | |||
| {{monzo| -21 3 7 }} | |||
| 10.06 | |||
| Lasepyo | |||
| [[Semicomma]], Fokker comma | |||
|- | |||
| 7 | |||
| [[1029/1000]] | |||
| {{monzo| -3 1 -3 3 }} | |||
| 49.49 | |||
| Trizogu | |||
| Keega | |||
|- | |||
| 7 | |||
| [[525/512]] | |||
| {{monzo| -9 1 2 1 }} | |||
| 43.41 | |||
| Lazoyoyo | |||
| Avicennma, Avicenna's enharmonic diesis | |||
|- | |||
| 7 | |||
| [[64/63]] | |||
| {{monzo| 6 -2 0 -1 }} | |||
| 27.26 | |||
| Ru | |||
| Septimal comma, Archytas' comma, Leipziger Komma | |||
|- | |||
| 7 | |||
| [[64827/64000]] | |||
| {{monzo| -9 3 -3 4 }} | |||
| 22.23 | |||
| Laquadzo-atrigu | |||
| Squalentine comma | |||
|- | |||
| 7 | |||
| [[3125/3087]] | |||
| {{monzo| 0 -2 5 -3 }} | |||
| 21.18 | |||
| Triru-aquinyo | |||
| Gariboh comma | |||
|- | |||
| 7 | |||
| [[3136/3125]] | |||
| {{monzo| 6 0 -5 2 }} | |||
| 6.08 | |||
| Zozoquingu | |||
| Hemimean comma | |||
|- | |||
| 11 | |||
| [[56/55]] | |||
| {{monzo| 3 0 -1 1 -1 }} | |||
| 31.19 | |||
| Luzogu | |||
| Undecimal diesis | |||
|- | |||
| 11 | |||
| [[121/120]] | |||
| {{monzo| -3 -1 -1 0 2 }} | |||
| 14.37 | |||
| Lologu | |||
| Biyatisma | |||
|- | |||
| 11 | |||
| [[441/440]] | |||
| {{monzo| -3 2 -1 2 -1 }} | |||
| 3.93 | |||
| Luzozogu | |||
| Werckisma | |||
|- | |||
| 13 | |||
| [[40/39]] | |||
| {{monzo| 3 -1 1 0 0 -1 }} | |||
| 43.83 | |||
| Thuyo | |||
| Tridecimal minor diesis | |||
|- | |||
| 13 | |||
| [[105/104]] | |||
| {{monzo| -3 1 1 1 0 -1 }} | |||
| 16.57 | |||
| Thuzoyo | |||
| Animist comma | |||
|- | |||
| 13 | |||
| [[169/168]] | |||
| {{monzo| -3 -1 0 -1 0 2 }} | |||
| 10.27 | |||
| Thothoru | |||
| Buzurgisma | |||
|} | |||
<references/> | |||
== Scales == | |||
{{Main | 13edo scales }} | |||
Important [[mos]]ses (values in parentheses are (''period'', ''generator'')): | |||
* [[oneirotonic]] [[5L 3s]] 22122121 (5\13, 1\1) | |||
* archaeotonic [[6L 1s]] 2222221 (2\13, 1\1) | |||
* [[No-threes subgroup temperaments#Lovecraft|lovecraft]] [[4L 5s]] 212121211 (3\13, 1\1) | |||
* [[No-threes subgroup temperaments#Sephiroth|Sephiroth]] [[3L 4s]] 3131311 (4\13, 1\1) | |||
Due to the prime character of the number 13, 13edo can form several xenharmonic [[MOSScales|moment of symmetry scales]]. The diagram below shows five "families" of MOS scales: those generated by making a chain of 2\13 (two [[degree]]s of 13edo), 3\13, 4\13, 5\13, & 6\13, respectively. | |||
[[File:13edo_horograms.jpg|alt=13edo_horograms.jpg|13edo_horograms.jpg]] | |||
[[:File:13edo_horograms.pdf|13edo horograms.pdf]] | |||
~diagram by Andrew Heathwaite, based on horagrams pioneered by Erv Wilson | |||
Another neat facet of 13edo is the fact that any 12edo scale can be "turned into" a 13edo scale by either adding an extra semitone, or turning an existent semitone into a whole-tone. Because of this, melody in 13edo can be quite mind-bending and uncanny, and phrases that begin in a familiar way quickly lead to something totally unexpected. | |||
=== Animism === | |||
The animist comma, 105/104, appears whenever {{nowrap| ~3 × ~5 × ~7 = ~2<sup>3</sup> × ~13 }}… 13edo does not approximate 3 and 7 individually (26edo does), but 13edo has 21/16 (21 = 3*7) and is also an animist temperament. In 13edo, the 5th harmonic is tuned so flatly that 5/4 = 16/13, leading to some interesting identities. So two scales stand out through this construction: | |||
0 4 5 8 9 13 pentatonic | |||
and | |||
0 1 3 4 5 8 9 10 12 13 nonatonic | |||
== Instruments == | |||
=== Lumatone === | |||
See: [[Lumatone mapping for 13edo]]. | |||
== Mapping to standard keyboards == | === Mapping to standard keyboards === | ||
The 5L+3s scale (Oneirotonic) can be mapped to the standard keyboard effectively, although somewhat awkwardly. Consider the sequence of 730-cent intervals that it derives from: 1 6 11 3 8 (13) 5 10 2 7 12 4 9 1/1. One of these must be absent, so it might as well be the last. So, there are at most five of the full octatonic scales on different keys. Of the four mappings that keep the major pentatonic on the white keys, which ironically look like ordinary minor-pentatonics, the latter which begins on B might be the most straightforward to learn and use. | The 5L+3s scale (Oneirotonic) can be mapped to the standard piano keyboard effectively, although somewhat awkwardly. Consider the sequence of 730-cent intervals that it derives from: 1 6 11 3 8 (13) 5 10 2 7 12 4 9 1/1. One of these must be absent, so it might as well be the last. So, there are at most five of the full octatonic scales on different keys. Of the four mappings that keep the major pentatonic on the white keys, which ironically look like ordinary minor-pentatonics, the latter which begins on B might be the most straightforward to learn and use. | ||
{| class="wikitable" | {| class="wikitable" | ||
| Line 1,427: | Line 1,550: | ||
The archaeotonic tonality is much simpler to deal with: you just leave out a tone and remember which one. Although, for diatonic use it may be more convenient to put the missing tone between E/F or B/C to keep it on the white keys, with the remaining small step where it looks like it should be. | The archaeotonic tonality is much simpler to deal with: you just leave out a tone and remember which one. Although, for diatonic use it may be more convenient to put the missing tone between E/F or B/C to keep it on the white keys, with the remaining small step where it looks like it should be. | ||
== | == Music == | ||
{{Main| 13edo/Music}} | |||
{{ | {{Catrel|13edo tracks}} | ||
== Introductory materials == | == Introductory materials == | ||
| Line 1,558: | Line 1,567: | ||
* [[File:Inthar-13edo Oneirotonic Studies 7 Celephaisian.mp3]]: Tonal Study in Celephaïsian | * [[File:Inthar-13edo Oneirotonic Studies 7 Celephaisian.mp3]]: Tonal Study in Celephaïsian | ||
* [[File:Inthar-13edo Oneirotonic Studies 8 Kadathian.mp3]]: Tonal Study in Kadathian | * [[File:Inthar-13edo Oneirotonic Studies 8 Kadathian.mp3]]: Tonal Study in Kadathian | ||
== See also == | == See also == | ||