User:Moremajorthanmajor/Ed13: Difference between revisions
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= Division of the thirteenth harmonic into n equal parts = | = Division of the thirteenth harmonic into n equal parts = | ||
The thirteenth harmonic is particularly wide as far as equivalences go. There are (at absolute most) ~3 triskaidecataves within the human hearing range; imagine if that were the case with octaves. If one does indeed deal with hendecatave equivalence, this fact shapes one's musical approach dramatically. The thirteenth harmonic causes the ideal chromatic scale to "break down" | The thirteenth harmonic is particularly wide as far as equivalences go. There are (at absolute most) ~3 triskaidecataves within the human hearing range; imagine if that were the case with octaves. If one does indeed deal with hendecatave equivalence, this fact shapes one's musical approach dramatically. The thirteenth harmonic causes the ideal chromatic scale to "break down" after the tritave: | ||
{| class="wikitable" | {| class="wikitable" | ||
|+ | |+ | ||
| Line 25: | Line 25: | ||
!A11 | !A11 | ||
d12 | d12 | ||
|- | |||
| rowspan="2" |1/1 | |||
| rowspan="2" |15/14 | |||
| rowspan="2" |8/7 | |||
| rowspan="2" |6/5 | |||
| rowspan="2" |4/3 | |||
| rowspan="2" |7/5 | |||
| rowspan="2" |3/2 | |||
| rowspan="2" |8/5 | |||
| rowspan="2" |5/3 | |||
| rowspan="2" |7/2 | |||
| rowspan="2" |15/8 | |||
| rowspan="2" |2/1 | |||
| rowspan="2" |15/7 | |||
| rowspan="2" |9/4 | |||
| rowspan="2" |7/3 | |||
| rowspan="2" |5/2 | |||
| rowspan="2" |8/3 | |||
| rowspan="2" |11/4 | |||
|- | |||
|- | |||
!P12 | !P12 | ||
!m13 | !m13 | ||
| Line 45: | Line 66: | ||
!P22 | !P22 | ||
|- | |- | ||
| rowspan="2" |3/1 | | rowspan="2" |3/1 | ||
| rowspan="2" |''13/4'' | | rowspan="2" |''13/4'' | ||
Revision as of 18:17, 11 May 2021
Ed13 means Division of the Thirteenth Harmonic (13/1) into n equal parts.
Division of the thirteenth harmonic into n equal parts
The thirteenth harmonic is particularly wide as far as equivalences go. There are (at absolute most) ~3 triskaidecataves within the human hearing range; imagine if that were the case with octaves. If one does indeed deal with hendecatave equivalence, this fact shapes one's musical approach dramatically. The thirteenth harmonic causes the ideal chromatic scale to "break down" after the tritave:
| Unison | m2 | M2 | m3 | P4 | A4
d5 |
P5 | m6 | M6 | m7 | M7 | P8 | m9 | M9 | m10 | M10 | P11 | A11
d12 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1/1 | 15/14 | 8/7 | 6/5 | 4/3 | 7/5 | 3/2 | 8/5 | 5/3 | 7/2 | 15/8 | 2/1 | 15/7 | 9/4 | 7/3 | 5/2 | 8/3 | 11/4 |
| P12 | m13 | M13 | m14 | M14 | P15 | m16 | M16 | m17 | M17 | P18 | A18
d19 |
P19 | m20 | M20 | m21 | M21 | P22 |
| 3/1 | 13/4 | 10/3 | 7/2 | 15/4 | 4/1 | 17/4 | 9/2 | 14/3 | 5/1 | 16/3 | 11/2 | 6/1 | 13/2 | 7/1 | 15/2 | 8/1 | |
| 32/5 | 20/3 | ||||||||||||||||