Rperlner

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Revision as of 00:22, 6 December 2020 view source Rperlner (talk \| contribs) autopatrolled, emailconfirmed 139 edits No edit summary Tag: Visual edit ← Older edit		Revision as of 00:23, 6 December 2020 view source Rperlner (talk \| contribs) autopatrolled, emailconfirmed 139 edits mNo edit summary Tag: Visual edit Newer edit →
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	1 : 15/14 : 7/6 : 5/4 : 7/5=10/7 : 3/2 : 5/3 : 7/4 : 2,		1 : 15/14 : 7/6 : 5/4 : 7/5=10/7 : 3/2 : 5/3 : 7/4 : 2,

	we find that while we have two different versions of a number of 9-limit consonant chords that appear in the 12-edo version, both versions are consonant in the 9-limit also in the partially de-tempered version. For example, a dominant 7th chord might either be 4:5:6:7 or 1/9:1/7:1/6:1/5. Likewise, if we treat the half octave as representing 17/12 in addition to 10/7 and 7/5, we can always render some inversion of any diminished 7th chord as 10:12:14:17. The melodic structure is also only moderately more complex than the 12-edo version, featuring a small (s) semitone, and medium (M) and large(L) wholetones in a sMsLsMsL pattern.		we find that while we have two different versions of a number of 9-limit consonant chords that appear in the 12-edo version, both versions are consonant in the 9-limit also in the partially de-tempered version. For example, a dominant 7th chord might either be 4:5:6:7 or 1/9:1/7:1/6:1/5. Likewise, if we treat the half octave as representing 17/12 in addition to 10/7 and 7/5, we can always render some inversion of any diminished 7th chord as 10:12:14:17. The melodic structure is also only moderately more complex than the 12-edo version, featuring a small (s) semitone, and medium (M) and large (L) wholetones in a sMsLsMsL pattern.