22edo: Difference between revisions

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=Theory=

In music, ''22 equal temperament'', called 22-tet, 22-edo, or 22-et, is the scale derived by dividing the [[Octave|octave]] into 22 equally large steps. Each step represents a frequency ratio of the twenty-second root of 2, or 54.55 [[cent|cent]]s. Because it distinguishes 10/9 and 9/8, it's ~~good for 5-limit~~.

In music, ''22 equal temperament'', called 22-tet, 22-edo, or 22-et, is the scale derived by dividing the [[Octave|octave]] into 22 equally large steps. Each step represents a frequency ratio of the twenty-second root of 2, or 54.55 [[cent|cent]]s. Because it distinguishes 10/9 and 9/8, it's not meantone.

The idea of dividing the octave into 22 steps of equal size seems to have originated with nineteenth century music theorist RHM Bosanquet. Inspired by the division of the octave into 22 unequal parts in the [[Indian|music theory of India]], Bosenquet noted that such an equal division was capable of representing 5-limit music with tolerable accuracy. In this he was followed in the twentieth century by theorist José Würschmidt, who noted it as a possible next step after [[19edo|19 equal temperament]], and J. Murray Barbour in his classic survey of tuning history, ''Tuning and Temperament''.

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 =Theory=
-In music, ''22 equal temperament'', called 22-tet, 22-edo, or 22-et, is the scale derived by dividing the [[Octave|octave]] into 22 equally large steps. Each step represents a frequency ratio of the twenty-second root of 2, or 54.55 [[cent|cent]]s. Because it distinguishes 10/9 and 9/8, it's good for 5-limit.
+In music, ''22 equal temperament'', called 22-tet, 22-edo, or 22-et, is the scale derived by dividing the [[Octave|octave]] into 22 equally large steps. Each step represents a frequency ratio of the twenty-second root of 2, or 54.55 [[cent|cent]]s. Because it distinguishes 10/9 and 9/8, it's not meantone.
 The idea of dividing the octave into 22 steps of equal size seems to have originated with nineteenth century music theorist RHM Bosanquet. Inspired by the division of the octave into 22 unequal parts in the [[Indian|music theory of India]], Bosenquet noted that such an equal division was capable of representing 5-limit music with tolerable accuracy. In this he was followed in the twentieth century by theorist José Würschmidt, who noted it as a possible next step after [[19edo|19 equal temperament]], and J. Murray Barbour in his classic survey of tuning history, ''Tuning and Temperament''.