Ed5/3: Difference between revisions

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Division of 5/3 into equal parts does not necessarily imply directly using this interval as an [[equivalence]]. Many, though not all, ed5/3 scales have a perceptually important [[Pseudo-octave|false octave]], with various degrees of accuracy.

5/3 is the most consonant interval in between 1/1 and 2/1, so this suggests it could be useful either as an equivalence, or as just an important structural feature.

5/3 is the most consonant interval in between 3/2 and 2/1, so this suggests it could be useful either as an equivalence, or as just an important structural feature.

[[Joseph Ruhf]] suggested the use of the 6:7:8:(10) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone as a way to evoke 5/3-equivalence. Though it could also be used just as a useful sonority, even without equivalence. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes four 4/3 to get to 8/7 (tempering out the comma 225/224). So, doing this yields 7-, 9-, and 16-note [[mos]] either way, the 16-note mos being 7L 9s. While the notes are rather closer together, the scheme is uncannily similar to meantone. "Microdiatonic" might be a good term for it (even better than for [[edf]]s as the generator it uses is an excellent fit for heptatonic mos) though it is, technically speaking, micro-[[7L 2s|armotonic]].

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 Division of 5/3 into equal parts does not necessarily imply directly using this interval as an [[equivalence]]. Many, though not all, ed5/3 scales have a perceptually important [[Pseudo-octave|false octave]], with various degrees of accuracy.
-/3 is the most consonant interval in between 1/1 and 2/1, so this suggests it could be useful either as an equivalence, or as just an important structural feature.
+/3 is the most consonant interval in between 3/2 and 2/1, so this suggests it could be useful either as an equivalence, or as just an important structural feature.
 [[Joseph Ruhf]] suggested the use of the 6:7:8:(10) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone as a way to evoke 5/3-equivalence. Though it could also be used just as a useful sonority, even without equivalence. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes four 4/3 to get to 8/7 (tempering out the comma 225/224). So, doing this yields 7-, 9-, and 16-note [[mos]] either way, the 16-note mos being 7L 9s. While the notes are rather closer together, the scheme is uncannily similar to meantone. "Microdiatonic" might be a good term for it (even better than for [[edf]]s as the generator it uses is an excellent fit for heptatonic mos) though it is, technically speaking, micro-[[7L 2s|armotonic]].