32edo: Difference between revisions
m Moving from Category:Edo to Category:Equal divisions of the octave using Cat-a-lot |
And here. |
||
| Line 40: | Line 40: | ||
|v~2 | |v~2 | ||
|downmid 2nd | |downmid 2nd | ||
|^^Eb | |^^Eb, vvD# | ||
|16/15 | |16/15 | ||
|49/46 | |49/46 | ||
| Line 48: | Line 48: | ||
|^~2 | |^~2 | ||
|upmid 2nd | |upmid 2nd | ||
| | |vD# | ||
|12/11, 49/45 | |12/11, 49/45 | ||
|25/23 | |25/23 | ||
| Line 56: | Line 56: | ||
|vM2 | |vM2 | ||
|downmajor 2nd | |downmajor 2nd | ||
| | |D# | ||
|10/9, 39/35 | |10/9, 39/35 | ||
|19/17 | |19/17 | ||
| Line 80: | Line 80: | ||
|^m3 | |^m3 | ||
|upminor 3rd | |upminor 3rd | ||
| | |Gb | ||
|6/5, 32/27 | |6/5, 32/27 | ||
|19/16 | |19/16 | ||
| Line 88: | Line 88: | ||
|v~3 | |v~3 | ||
|downmid 3rd | |downmid 3rd | ||
|^ | |^Gb | ||
|11/9, 39/32, 63/52 | |11/9, 39/32, 63/52 | ||
|17/14, 28/23 | |17/14, 28/23 | ||
| Line 128: | Line 128: | ||
|^4 | |^4 | ||
|up 4th | |up 4th | ||
| | |Ab | ||
|27/20, 110/81 | |27/20, 110/81 | ||
|19/14, 23/17 | |19/14, 23/17 | ||
| Line 136: | Line 136: | ||
|v~4 | |v~4 | ||
|downmid 4th | |downmid 4th | ||
|^ | |^Ab | ||
|18/13, 11/8 | |18/13, 11/8 | ||
| | | | ||
| Line 152: | Line 152: | ||
|^~5 | |^~5 | ||
|upmid 5th | |upmid 5th | ||
| | |vG# | ||
|13/9, 16/11 | |13/9, 16/11 | ||
| | | | ||
| Line 160: | Line 160: | ||
|v5 | |v5 | ||
|down fifth | |down fifth | ||
| | |G# | ||
|40/27, 81/55 | |40/27, 81/55 | ||
|28/19, 34/23 | |28/19, 34/23 | ||
| Line 200: | Line 200: | ||
|^~6 | |^~6 | ||
|upmid 6th | |upmid 6th | ||
| | |vA# | ||
|18/11, 64/39, 104/63 | |18/11, 64/39, 104/63 | ||
|28/17, 23/14 | |28/17, 23/14 | ||
| Line 208: | Line 208: | ||
|vM6 | |vM6 | ||
|downmajor 6th | |downmajor 6th | ||
| | |A# | ||
|5/3, 27/16 | |5/3, 27/16 | ||
|32/19 | |32/19 | ||
| Line 232: | Line 232: | ||
|^m7 | |^m7 | ||
|upminor 7th | |upminor 7th | ||
| | |Db | ||
|9/5, 70/39 | |9/5, 70/39 | ||
|34/19 | |34/19 | ||
| Line 240: | Line 240: | ||
|v~7 | |v~7 | ||
|downmid 7th | |downmid 7th | ||
|^ | |^Db | ||
|11/6, 90/49 | |11/6, 90/49 | ||
|46/25 | |46/25 | ||
Revision as of 16:15, 15 December 2020
The 32 equal division divides the octave into 32 equal parts of precisely 37.5 cents each. While even advocates of less-common EDOs can struggle to find something about it worth noting, it does provide an excellent tuning for Petr Parízek's sixix temperament, which tempers out the 5-limit sixix comma, 3125/2916, using its 9\32 generator of size 337.5 cents. Parízek's preferred generator for sixix is (128/15)^(1/11), which is 337.430 cents and which gives equal error to fifths and major thirds, so 32edo does sixix about as well as sixix can be done. It also can be used (with the 9\32 generator) to tune mohavila, an 11-limit temperament which does not temper out sixix.
It also tempers out 2048/2025 in the 5-limit, and 50/49 with 64/63 in the 7-limit, which means it supports pajara temperament, with a very sharp fifth of 712.5 cents which could be experimented with by those with a penchant for fifths even sharper than the fifth of 27edo; this fifth is in fact very close to the minimax tuning of the pajara extension pajaro, using the 32f val. In the 11-limit it provides the optimal patent val for the 15&32 temperament, tempering out 55/54, 64/63 and 245/242.
Intervals
| Degree | Cents | Ups and Downs Notation | 13-limit Ratios | Other | ||
|---|---|---|---|---|---|---|
| 0 | 0.0 | P1 | perfect unison | D | 1/1 | |
| 1 | 37.5 | ^1, m2 | up unison, minor 2nd | ^D, Eb | 49/48, 50/49, 45/44 | 46/45, 52/51, 51/50 |
| 2 | 75.0 | ^m2 | upminor 2nd | ^Eb | 22/21, 25/24 | 24/23, 23/22 |
| 3 | 112.5 | v~2 | downmid 2nd | ^^Eb, vvD# | 16/15 | 49/46 |
| 4 | 150.0 | ^~2 | upmid 2nd | vD# | 12/11, 49/45 | 25/23 |
| 5 | 187.5 | vM2 | downmajor 2nd | D# | 10/9, 39/35 | 19/17 |
| 6 | 225.0 | M2 | major 2nd | E | 8/7, 25/22 | 57/50 |
| 7 | 262.5 | m3 | minor 3rd | F | 7/6, 64/55 | 57/49 |
| 8 | 300.0 | ^m3 | upminor 3rd | Gb | 6/5, 32/27 | 19/16 |
| 9 | 337.5 | v~3 | downmid 3rd | ^Gb | 11/9, 39/32, 63/52 | 17/14, 28/23 |
| 10 | 375.0 | ^~3 | upmid 3rd | vvF# | 5/4, 26/21, 56/45, 96/77 | 36/29 |
| 11 | 412.5 | vM3 | downmajor 3rd | vF# | 14/11, 33/26, 80/63 | 19/15 |
| 12 | 450.0 | M3 | major 3rd | F# | 13/10, 35/27, 64/49 | 22/17, 57/44 |
| 13 | 487.5 | P4 | perfect 4th | G | 4/3, 33/25, 160/121 | 45/34, 85/64 |
| 14 | 525.0 | ^4 | up 4th | Ab | 27/20, 110/81 | 19/14, 23/17 |
| 15 | 562.5 | v~4 | downmid 4th | ^Ab | 18/13, 11/8 | |
| 16 | 600.0 | ^~4,v~5 | upmid 4th, downmid 5th | vvG#, ^^Ab | 7/5, 10/7, 99/70, 140/99 | 17/12, 12/17 |
| 17 | 637.5 | ^~5 | upmid 5th | vG# | 13/9, 16/11 | |
| 18 | 675.0 | v5 | down fifth | G# | 40/27, 81/55 | 28/19, 34/23 |
| 19 | 712.5 | P5 | perfect 5th | A | 3/2, 50/33, 121/80 | 68/45, 128/85 |
| 20 | 750.0 | m6 | minor 6th | Bb | 20/13, 54/35, 49/32 | 17/11, 88/57 |
| 21 | 787.5 | ^m6 | upminor 6th | ^Bb | 11/7, 52/33, 63/40 | 30/19 |
| 22 | 825.0 | v~6 | downmid 6th | ^^Bb | 8/5, 21/13, 45/28, 77/48 | 29/18 |
| 23 | 862.5 | ^~6 | upmid 6th | vA# | 18/11, 64/39, 104/63 | 28/17, 23/14 |
| 24 | 900.0 | vM6 | downmajor 6th | A# | 5/3, 27/16 | 32/19 |
| 25 | 937.5 | M6 | major 6th | B | 12/7, 55/32 | 98/57 |
| 26 | 975.0 | m7 | minor 7th | C | 7/4, 44/25 | 100/57 |
| 27 | 1012.5 | ^m7 | upminor 7th | Db | 9/5, 70/39 | 34/19 |
| 28 | 1050.0 | v~7 | downmid 7th | ^Db | 11/6, 90/49 | 46/25 |
| 29 | 1087.5 | ^~7 | upmid 7th | vvC# | 15/8 | 92/49 |
| 30 | 1125.0 | vM7 | downmajor 7th | vC# | 21/11, 48/25 | 23/12, 44/23 |
| 31 | 1162.5 | M7 | major 7th | C# | 96/49, 49/25, 88/45 | 45/23, 51/26, 100/51 |
| 32 | 1200.0 | P8 | 8ve | D | 2/1 | |
Z function
Below is a plot of the Zeta function, showing how its peak (ie most negative) value is shifted above 32, corresponding to a zeta tuning with octaves flattened to 1197.375 cents. This will improve the fifth, at the expense of the third.
Music
Zinnia Riplet by Stephen Weigel (featured in Possible Worlds Vol. 4 of Spectropol Records)
Admin's Hot Tub by Stephen Weigel
Sixix by Petr Parízek
