7edo
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<span style="display: block; text-align: right;">[[7平均律|日本語]] </span> [[toc|flat]] ---- ="Neutral diatonic" or "Neutron[7]"= 7-edo divides the 1200-cent [[octave]] into 7 equal parts, making its smallest interval [[cent|171.428¢]], or the seventh root of 2. It is the fourth [[prime numbers|prime]] edo, after [[2edo]], [[3edo]] and [[5edo]]. Equal-heptatonic scales are used in non-western music in African cultures as well as an integral part of early Thai and early Chinese music. It has been speculated in "Indian music:history and structure", that the Indian three-sruti interval of 165 cents is close enough to be mistaken for 171 cents. (or 1.71 semitones). 7-tet can be thought of as result of stacking seven 11/9s on top of each other, and then tempering to remove the comma (2^-2 3^-14 11^7). As a temperament, William Lynch gives it the name "Neutron[7]" just as the whole tone scale of 12 ET is known as "Hexe[6]". Typically, 7-edo exists as the tuning for pentatonic scales in traditional thai music with the other two pitches acting as auxiliary tones. However, it can be used as an interesting diatonic scale choice as well in tunings such as 14 EDO or 21 EDO. The seventh of 7-edo is almost exactly the 29th harmonic ([[29_16|29/16]]), which can have a very agreeable sound with harmonic timbres. However it also finds itself nested between ratios such as 20/11 and 9/5, which gives it considerably higher [[harmonic entropy]] than [[harmonic seventh|7/4]], a much simpler overtone seventh. Similarly, in equi-heptatonic systems the desire for harmonic sound may dictate constant adjustments of intonation away from the theoretical interval of 171 cents. One of the most impressive areas in Africa in which a pen-equidistant heptatonic scale is combined with a distinctively harmonic style based on singing in intervals of thirds plus fifths, or thirds plus fourths, is the eastern Angolan culture area. This music is heptatonic and non-modal; i.e., there is no concept of major or minor thirds as distinctive intervals. In principle all the thirds are neutral, but in practice the thirds rendered by the singers often approximate natural major thirds (386 cents), especially at points of rest. In this manner, the principles of equidistance and harmonic euphony are accommodated within one tonal-harmonic system. For the notation of such music, a seven-line stave is most appropriate, with each horizontal line representing one pitch level. ([[@http://www.britannica.com/EBchecked/topic/719112/African-music|"African music." Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. 05 Jul. 2009]]) A Thai xylophone measured by Morton (1974) "varied only plus or minus 5 cents," from 7-TET. A Ugandan Chopi xylophone measured by Haddon (1952) was also tuned to this system. =Intervals in 7-edo= || **Interval** || **Interval** **size** **in ¢ (coarse, fine), DMS** || **Closest** **diatonic** **interval name** || **The "neighborhood" of just intervals** || || 0 || 0.0, 0° || unison / prime || exactly 1/1 || || 1 || 171.429, 205.714, 51°25'43" || second || 6.424 c (coarse), 7.709 c (fine), 1°55'38" from Ptolemy (neutral) second 11/10 3.215 c (coarse), 3.8585 c (fine), 57'53" from second 54/49 -1.006 c (coarse), -1.207 c (fine), -18'6" from the 29th subharmonic 32/29 -10.975<span style="line-height: 1.5;"> c (coarse), -13.17 c (fine), -3°17'33" from (Didymus) major second (small whole tone) 10/9</span> || || 2 || 342.857, 411.429, 102°51'26" || third || -4.551 c (coarse), -5.461 c (fine), -1°21'55" from neutral third 11/9 || || 3 || 514.286, 617.143, 154°17'9" || fourth || 16.241 c (coarse), 19.489 c (fine), 4°52'20" from just fourth 4/3 (498.045 c coarse, 597.654 c fine) -5.265 c (coarse), -6.319 c (fine), -1°34'47" from wide fourth 27/20 || || 4 || 685.714, 822.857, 205°42'51" || fifth || 5.265 c (coarse), 6.319 c (fine), 1°34'47" from narrow fifth 40/27 -16.241 c (coarse), -19.489 c (fine)<span style="line-height: 1.5;">, -4°52'20" from just fifth 3/2 (701.955 c coarse, 842.346 c fine)</span> || || 5 || 857.143, 1028.571, 257°8'34" || sixth || 4.551 c (coarse), 5.461 c (fine), 1°21'55" from neutral sixth 18/11 || || 6 || 1028.571<span style="line-height: 1.5;">, 1234.286,</span> <span style="line-height: 1.5;"> 308°34'17"1</span> || seventh || 10.975 c (coarse), 13.17 c (fine), 3°17'33" from (Didymus) minor seventh 9/5 -6.424 c (coarse), -7.709 c (fine), -1°55'38" from neutral seventh 20/11 1.006 c (coarse), 1.207 c (fine), 18'6" from the 29th harmonic 29/16 -3.215 c (coarse), -3.8585 c (fine), -57'53" from seventh 49/27 || || 7 (0) || 1200.0, 360º || eighth || exactly 2/1 || [[media type="custom" key="24802290"]] [[file:7ed2-001.svg]] =Related scales= * Related in a lateral way to traditional Thai music. Subset of 14 EDO and 21 EDO. ==Notation== * Rotatable on a five-line staff without accidentals. ==Harmony== There is no distinction between Major or Minor; each pitch class is unique. ==Melody== There is a neutral feel between whole tone scale and major/minor diatonic scale. The second (171.429 c) works well as a basic step for melodic progression. The step from seventh to octave is too large for the leading tone. ==Relative tuning accuracy== 7-edo is the third [[The Riemann Zeta Function and Tuning#Zeta%20EDO%20lists|zeta integral edo]]. =Alphabet= William Lynch proposes using numbers 1 through 7 as the nominals of 7 ET with # signs being possible to expand to 14 EDO or even 21 EDO. The alphabet can be written in three ways: Plain numbers: 1 2 3 4 5 6 7 In Japanese number abbreviations: い に さん し ご ろ な い In Chinese/Kanji numbers: 一 二 三 四 五 六七 === === =Music= * [[http://sethares.engr.wisc.edu/mp3s/PagansRevenge.mp3|Pagan's Revenge]] by Bill Sethares (synthetic gamelan) * [[http://www.akjmusic.com/audio/i_dream_of_tibet.mp3|I dream of Tibet]] by [[http://www.akjmusic.com/works.html|Aaron K. Johnson]] (electronic swirlies) * [[http://micro.soonlabel.com/gene_ward_smith/Others/Walker/Seven%20Equal%20Trio.mp3|Seven Equal Trio]] by [[http://robertinventor.tripod.com/tunes/tunes.htm#7_equal_trio|Robert Walker]] ((synth) violin, viola, glockenspiel) * [[http://micro.soonlabel.com/gene_ward_smith/Others/Hunt/7ET.mp3|Two-part Invention in 7TET]] by [[http://www.h-pi.com/musicFiles.html|Aaron Hunt]] * [[http://www.uvnitr.cz/flaoyg/flao_yg/pavouci.html|Pavouci]], [[http://www.uvnitr.cz/flaoyg/flao_yg/kelt.html|Kelt]] by Milan Guštar * [[http://www.seraph.it/dep/det/7edo%20dance.mp3|7edo Dance]] by Carlo Serafini * [[http://micro.soonlabel.com/gene_ward_smith/Others/Winchester/06%20-%206.%207%20octave.mp3|Comets Over Flatland 6]] by [[Randy Winchester]] * [[http://media.soundcloud.com/stream/IUcgFYhtu3Rk?stream_token=4QIvd|Sävelmä]] by [[http://soundcloud.com/juhani-nuorvala/s-velm-long-version|Juhani Nuorvala]] * [[https://soundcloud.com/santiagocosentino/rock-in-7edo|Rock in 7edo by Santiago Cosentino]] =Ear Training= 7 EDO ear-training exercises by Alex Ness available [[@https://drive.google.com/folderview?id=0BwsXD8q2VCYUT3VEZUVmeVZUcmc&usp=drive_web#list|here]]. =Commas= 7 EDO tempers out the following commas. (Note: This assumes val < [[tel/7 11 16 20 24 26|7 11 16 20 24 26]] |.) ||~ Comma ||~ Monzo ||~ Cents ||~ Name 1 ||~ Name 2 ||~ Name 3 || ||= 2187/2048 || | -11 7 > ||> 113.69 ||= Apotome ||= ||= || ||= 135/128 || | -7 3 1 > ||> 92.18 ||= Major Chroma ||= Major Limma ||= Pelagic Comma || ||= 25/24 || | -3 -1 2 > ||> 70.67 ||= Chromatic semitone ||= Chroma || || ||= 250/243 || | 1 -5 3 > ||> 49.17 ||= Maximal Diesis ||= Porcupine Comma ||= || ||= 20000/19683 || | 5 -9 4 > ||> 27.66 ||= Minimal Disease ||= Tricot Comma ||= || ||= 81/80 || | -4 4 -1 > ||> 21.51 ||= Syntonic Comma ||= Didymos Comma ||= Meantone Comma || ||= || | 9 -13 5 > ||> 6.15 ||= Amity Comma ||= ||= || ||= 36/35 || | 2 2 -1 -1 > ||> 48.77 ||= Septimal Quarter Tone ||= ||= || ||= 525/512 || | -9 1 2 1 > ||> 43.41 ||= Avicenna ||= Avicenna's Enharmonic Diesis ||= || ||= 64/63 || | 6 -2 0 -1 > ||> 27.26 ||= Septimal Comma ||= Archytas' Comma ||= Leipziger Komma || ||= 875/864 || | -5 -3 3 1 > ||> 21.90 ||= Keema ||= ||= || ||= 5120/5103 || | 10 -6 1 -1 > ||> 5.76 ||= Hemi Family ||= ||= || ||= 6144/6125 || | 11 1 -3 -2 > ||> 5.36 ||= Cornwell ||= ||= || ||= 4375/4374 || | -1 -7 4 1 > ||> 0.40 ||= Ragisma ||= ||= || ||= || | 47 -7 -7 -7 > ||> 0.34 ||= Akjaysma ||= 5\7 Octave Comma ||= || ||= 100/99 || | 2 -2 2 0 -1 > ||> 17.40 ||= Ptolemies ||= ||= || ||= 121/120 || | -3 -1 -1 0 2 > ||> 14.37 ||= Batista ||= ||= || ||= 176/175 || | 4 0 -2 -1 1 > ||> 9.86 ||= Valinorsma ||= ||= || ||= 65536/65219 || | 16 0 0 -2 -3 > ||> 8.39 ||= Organisma ||= ||= || ||= 243/242 || | -1 5 0 0 -2 > ||> 7.14 ||= Rasta ||= ||= || ||= 385/384 || | -7 -1 1 1 1 > ||> 4.50 ||= Keenanisma ||= ||= || ||= 4000/3993 || | 5 -1 3 0 -3 > ||> 3.03 ||= Wizard Harry ||= ||= || [[media type="custom" key="23473438"]]
Original HTML content:
<html><head><title>7edo</title></head><body><span style="display: block; text-align: right;"><a class="wiki_link" href="/7%E5%B9%B3%E5%9D%87%E5%BE%8B">日本語</a><br />
</span><br />
<!-- ws:start:WikiTextTocRule:26:<img id="wikitext@@toc@@flat" class="WikiMedia WikiMediaTocFlat" title="Table of Contents" src="/site/embedthumbnail/toc/flat?w=100&h=16"/> --><!-- ws:end:WikiTextTocRule:26 --><!-- ws:start:WikiTextTocRule:27: --><a href="#x"Neutral diatonic" or "Neutron[7]"">"Neutral diatonic" or "Neutron[7]"</a><!-- ws:end:WikiTextTocRule:27 --><!-- ws:start:WikiTextTocRule:28: --> | <a href="#Intervals in 7-edo">Intervals in 7-edo</a><!-- ws:end:WikiTextTocRule:28 --><!-- ws:start:WikiTextTocRule:29: --> | <a href="#Related scales">Related scales</a><!-- ws:end:WikiTextTocRule:29 --><!-- ws:start:WikiTextTocRule:30: --><!-- ws:end:WikiTextTocRule:30 --><!-- ws:start:WikiTextTocRule:31: --><!-- ws:end:WikiTextTocRule:31 --><!-- ws:start:WikiTextTocRule:32: --><!-- ws:end:WikiTextTocRule:32 --><!-- ws:start:WikiTextTocRule:33: --><!-- ws:end:WikiTextTocRule:33 --><!-- ws:start:WikiTextTocRule:34: --> | <a href="#Alphabet">Alphabet</a><!-- ws:end:WikiTextTocRule:34 --><!-- ws:start:WikiTextTocRule:35: --><!-- ws:end:WikiTextTocRule:35 --><!-- ws:start:WikiTextTocRule:36: --> | <a href="#Music">Music</a><!-- ws:end:WikiTextTocRule:36 --><!-- ws:start:WikiTextTocRule:37: --> | <a href="#Ear Training">Ear Training</a><!-- ws:end:WikiTextTocRule:37 --><!-- ws:start:WikiTextTocRule:38: --> | <a href="#Commas">Commas</a><!-- ws:end:WikiTextTocRule:38 --><!-- ws:start:WikiTextTocRule:39: -->
<!-- ws:end:WikiTextTocRule:39 --><hr />
<!-- ws:start:WikiTextHeadingRule:2:<h1> --><h1 id="toc0"><a name="x"Neutral diatonic" or "Neutron[7]""></a><!-- ws:end:WikiTextHeadingRule:2 -->"Neutral diatonic" or "Neutron[7]"</h1>
<br />
7-edo divides the 1200-cent <a class="wiki_link" href="/octave">octave</a> into 7 equal parts, making its smallest interval <a class="wiki_link" href="/cent">171.428¢</a>, or the seventh root of 2. It is the fourth <a class="wiki_link" href="/prime%20numbers">prime</a> edo, after <a class="wiki_link" href="/2edo">2edo</a>, <a class="wiki_link" href="/3edo">3edo</a> and <a class="wiki_link" href="/5edo">5edo</a>.<br />
<br />
Equal-heptatonic scales are used in non-western music in African cultures as well as an integral part of early Thai and early Chinese music. It has been speculated in "Indian music:history and structure", that the Indian three-sruti interval of 165 cents is close enough to be mistaken for 171 cents. (or 1.71 semitones).<br />
7-tet can be thought of as result of stacking seven 11/9s on top of each other, and then tempering to remove the comma (2^-2 3^-14 11^7). As a temperament, William Lynch gives it the name "Neutron[7]" just as the whole tone scale of 12 ET is known as "Hexe[6]".<br />
<br />
Typically, 7-edo exists as the tuning for pentatonic scales in traditional thai music with the other two pitches acting as auxiliary tones. However, it can be used as an interesting diatonic scale choice as well in tunings such as 14 EDO or 21 EDO.<br />
<br />
The seventh of 7-edo is almost exactly the 29th harmonic (<a class="wiki_link" href="/29_16">29/16</a>), which can have a very agreeable sound with harmonic timbres. However it also finds itself nested between ratios such as 20/11 and 9/5, which gives it considerably higher <a class="wiki_link" href="/harmonic%20entropy">harmonic entropy</a> than <a class="wiki_link" href="/harmonic%20seventh">7/4</a>, a much simpler overtone seventh.<br />
<br />
Similarly, in equi-heptatonic systems the desire for harmonic sound may dictate constant adjustments of intonation away from the theoretical interval of 171 cents. One of the most impressive areas in Africa in which a pen-equidistant heptatonic scale is combined with a distinctively harmonic style based on singing in intervals of thirds plus fifths, or thirds plus fourths, is the eastern Angolan culture area. This music is heptatonic and non-modal; i.e., there is no concept of major or minor thirds as distinctive intervals. In principle all the thirds are neutral, but in practice the thirds rendered by the singers often approximate natural major thirds (386 cents), especially at points of rest. In this manner, the principles of equidistance and harmonic euphony are accommodated within one tonal-harmonic system. For the notation of such music, a seven-line stave is most appropriate, with each horizontal line representing one pitch level.<br />
(<a class="wiki_link_ext" href="http://www.britannica.com/EBchecked/topic/719112/African-music" rel="nofollow" target="_blank">"African music." Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. 05 Jul. 2009</a>)<br />
<br />
A Thai xylophone measured by Morton (1974) "varied only plus or minus 5 cents," from 7-TET. A Ugandan Chopi xylophone measured by Haddon (1952) was also tuned to this system.<br />
<br />
<!-- ws:start:WikiTextHeadingRule:4:<h1> --><h1 id="toc1"><a name="Intervals in 7-edo"></a><!-- ws:end:WikiTextHeadingRule:4 -->Intervals in 7-edo</h1>
<table class="wiki_table">
<tr>
<td><strong>Interval</strong><br />
</td>
<td><strong>Interval</strong><br />
<strong>size</strong><br />
<strong>in ¢ (coarse, fine), DMS</strong><br />
</td>
<td><strong>Closest</strong><br />
<strong>diatonic</strong><br />
<strong>interval name</strong><br />
</td>
<td><strong>The "neighborhood" of just intervals</strong><br />
</td>
</tr>
<tr>
<td>0<br />
</td>
<td>0.0, 0°<br />
</td>
<td>unison / prime<br />
</td>
<td>exactly 1/1<br />
</td>
</tr>
<tr>
<td>1<br />
</td>
<td>171.429, 205.714, 51°25'43"<br />
</td>
<td>second<br />
</td>
<td>6.424 c (coarse), 7.709 c (fine), 1°55'38" from Ptolemy (neutral) second 11/10<br />
3.215 c (coarse), 3.8585 c (fine), 57'53" from second 54/49<br />
-1.006 c (coarse), -1.207 c (fine), -18'6" from the 29th subharmonic 32/29<br />
-10.975<span style="line-height: 1.5;"> c (coarse), -13.17 c (fine), -3°17'33" from (Didymus) major second (small whole tone) 10/9</span><br />
</td>
</tr>
<tr>
<td>2<br />
</td>
<td>342.857, 411.429,<br />
102°51'26"<br />
</td>
<td>third<br />
</td>
<td>-4.551 c (coarse), -5.461 c (fine), -1°21'55" from neutral third 11/9<br />
</td>
</tr>
<tr>
<td>3<br />
</td>
<td>514.286, 617.143,<br />
154°17'9"<br />
</td>
<td>fourth<br />
</td>
<td>16.241 c (coarse), 19.489 c (fine), 4°52'20" from just fourth 4/3 (498.045 c coarse, 597.654 c fine)<br />
-5.265 c (coarse), -6.319 c (fine), -1°34'47" from wide fourth 27/20<br />
</td>
</tr>
<tr>
<td>4<br />
</td>
<td>685.714, 822.857,<br />
205°42'51"<br />
</td>
<td>fifth<br />
</td>
<td>5.265 c (coarse), 6.319 c (fine), 1°34'47" from narrow fifth 40/27<br />
-16.241 c (coarse), -19.489 c (fine)<span style="line-height: 1.5;">, -4°52'20" from just fifth 3/2 (701.955 c coarse, 842.346 c fine)</span><br />
</td>
</tr>
<tr>
<td>5<br />
</td>
<td>857.143, 1028.571,<br />
257°8'34"<br />
</td>
<td>sixth<br />
</td>
<td>4.551 c (coarse), 5.461 c (fine), 1°21'55" from neutral sixth 18/11<br />
</td>
</tr>
<tr>
<td>6<br />
</td>
<td>1028.571<span style="line-height: 1.5;">, 1234.286,</span><br />
<span style="line-height: 1.5;"> 308°34'17"1</span><br />
</td>
<td>seventh<br />
</td>
<td>10.975 c (coarse), 13.17 c (fine), 3°17'33" from (Didymus) minor seventh 9/5<br />
-6.424 c (coarse), -7.709 c (fine), -1°55'38" from neutral seventh 20/11<br />
1.006 c (coarse), 1.207 c (fine), 18'6" from the 29th harmonic 29/16<br />
-3.215 c (coarse), -3.8585 c (fine), -57'53" from seventh 49/27<br />
</td>
</tr>
<tr>
<td>7 (0)<br />
</td>
<td>1200.0, 360º<br />
</td>
<td>eighth<br />
</td>
<td>exactly 2/1<br />
</td>
</tr>
</table>
<br />
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<br />
<!-- ws:start:WikiTextHeadingRule:6:<h1> --><h1 id="toc2"><a name="Related scales"></a><!-- ws:end:WikiTextHeadingRule:6 -->Related scales</h1>
<ul><li>Related in a lateral way to traditional Thai music. Subset of 14 EDO and 21 EDO.</li></ul><!-- ws:start:WikiTextHeadingRule:8:<h2> --><h2 id="toc3"><a name="Related scales-Notation"></a><!-- ws:end:WikiTextHeadingRule:8 -->Notation</h2>
<ul><li>Rotatable on a five-line staff without accidentals.</li></ul><!-- ws:start:WikiTextHeadingRule:10:<h2> --><h2 id="toc4"><a name="Related scales-Harmony"></a><!-- ws:end:WikiTextHeadingRule:10 -->Harmony</h2>
There is no distinction between Major or Minor; each pitch class is unique.<br />
<!-- ws:start:WikiTextHeadingRule:12:<h2> --><h2 id="toc5"><a name="Related scales-Melody"></a><!-- ws:end:WikiTextHeadingRule:12 -->Melody</h2>
There is a neutral feel between whole tone scale and major/minor diatonic scale. The second (171.429 c) works well as a basic step for melodic progression.<br />
The step from seventh to octave is too large for the leading tone.<br />
<!-- ws:start:WikiTextHeadingRule:14:<h2> --><h2 id="toc6"><a name="Related scales-Relative tuning accuracy"></a><!-- ws:end:WikiTextHeadingRule:14 -->Relative tuning accuracy</h2>
7-edo is the third <a class="wiki_link" href="/The%20Riemann%20Zeta%20Function%20and%20Tuning#Zeta%20EDO%20lists">zeta integral edo</a>.<br />
<br />
<!-- ws:start:WikiTextHeadingRule:16:<h1> --><h1 id="toc7"><a name="Alphabet"></a><!-- ws:end:WikiTextHeadingRule:16 -->Alphabet</h1>
William Lynch proposes using numbers 1 through 7 as the nominals of 7 ET with # signs being possible to expand to 14 EDO or even 21 EDO.<br />
The alphabet can be written in three ways:<br />
Plain numbers: 1 2 3 4 5 6 7<br />
In Japanese number abbreviations: い に さん し ご ろ な い<br />
In Chinese/Kanji numbers: 一 二 三 四 五 六七 <br />
<!-- ws:start:WikiTextHeadingRule:18:<h3> --><h3 id="toc8"><!-- ws:end:WikiTextHeadingRule:18 --> </h3>
<!-- ws:start:WikiTextHeadingRule:20:<h1> --><h1 id="toc9"><a name="Music"></a><!-- ws:end:WikiTextHeadingRule:20 -->Music</h1>
<br />
<ul><li><a class="wiki_link_ext" href="http://sethares.engr.wisc.edu/mp3s/PagansRevenge.mp3" rel="nofollow">Pagan's Revenge</a> by Bill Sethares (synthetic gamelan)</li><li><a class="wiki_link_ext" href="http://www.akjmusic.com/audio/i_dream_of_tibet.mp3" rel="nofollow">I dream of Tibet</a> by <a class="wiki_link_ext" href="http://www.akjmusic.com/works.html" rel="nofollow">Aaron K. Johnson</a> (electronic swirlies)</li><li><a class="wiki_link_ext" href="http://micro.soonlabel.com/gene_ward_smith/Others/Walker/Seven%20Equal%20Trio.mp3" rel="nofollow">Seven Equal Trio</a> by <a class="wiki_link_ext" href="http://robertinventor.tripod.com/tunes/tunes.htm#7_equal_trio" rel="nofollow">Robert Walker</a> ((synth) violin, viola, glockenspiel)</li><li><a class="wiki_link_ext" href="http://micro.soonlabel.com/gene_ward_smith/Others/Hunt/7ET.mp3" rel="nofollow">Two-part Invention in 7TET</a> by <a class="wiki_link_ext" href="http://www.h-pi.com/musicFiles.html" rel="nofollow">Aaron Hunt</a></li><li><a class="wiki_link_ext" href="http://www.uvnitr.cz/flaoyg/flao_yg/pavouci.html" rel="nofollow">Pavouci</a>, <a class="wiki_link_ext" href="http://www.uvnitr.cz/flaoyg/flao_yg/kelt.html" rel="nofollow">Kelt</a> by Milan Guštar</li><li><a class="wiki_link_ext" href="http://www.seraph.it/dep/det/7edo%20dance.mp3" rel="nofollow">7edo Dance</a> by Carlo Serafini</li><li><a class="wiki_link_ext" href="http://micro.soonlabel.com/gene_ward_smith/Others/Winchester/06%20-%206.%207%20octave.mp3" rel="nofollow">Comets Over Flatland 6</a> by <a class="wiki_link" href="/Randy%20Winchester">Randy Winchester</a></li><li><a class="wiki_link_ext" href="http://media.soundcloud.com/stream/IUcgFYhtu3Rk?stream_token=4QIvd" rel="nofollow">Sävelmä</a> by <a class="wiki_link_ext" href="http://soundcloud.com/juhani-nuorvala/s-velm-long-version" rel="nofollow">Juhani Nuorvala</a></li><li><a class="wiki_link_ext" href="https://soundcloud.com/santiagocosentino/rock-in-7edo" rel="nofollow">Rock in 7edo by Santiago Cosentino</a></li></ul><br />
<!-- ws:start:WikiTextHeadingRule:22:<h1> --><h1 id="toc10"><a name="Ear Training"></a><!-- ws:end:WikiTextHeadingRule:22 -->Ear Training</h1>
7 EDO ear-training exercises by Alex Ness available <a class="wiki_link_ext" href="https://drive.google.com/folderview?id=0BwsXD8q2VCYUT3VEZUVmeVZUcmc&usp=drive_web#list" rel="nofollow" target="_blank">here</a>.<br />
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<!-- ws:start:WikiTextHeadingRule:24:<h1> --><h1 id="toc11"><a name="Commas"></a><!-- ws:end:WikiTextHeadingRule:24 -->Commas</h1>
7 EDO tempers out the following commas. (Note: This assumes val < <a class="wiki_link" href="http://tel.wikispaces.com/7%2011%2016%2020%2024%2026">7 11 16 20 24 26</a> |.)<br />
<br />
<table class="wiki_table">
<tr>
<th>Comma<br />
</th>
<th>Monzo<br />
</th>
<th>Cents<br />
</th>
<th>Name 1<br />
</th>
<th>Name 2<br />
</th>
<th>Name 3<br />
</th>
</tr>
<tr>
<td style="text-align: center;">2187/2048<br />
</td>
<td>| -11 7 ><br />
</td>
<td style="text-align: right;">113.69<br />
</td>
<td style="text-align: center;">Apotome<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">135/128<br />
</td>
<td>| -7 3 1 ><br />
</td>
<td style="text-align: right;">92.18<br />
</td>
<td style="text-align: center;">Major Chroma<br />
</td>
<td style="text-align: center;">Major Limma<br />
</td>
<td style="text-align: center;">Pelagic Comma<br />
</td>
</tr>
<tr>
<td style="text-align: center;">25/24<br />
</td>
<td>| -3 -1 2 ><br />
</td>
<td style="text-align: right;">70.67<br />
</td>
<td style="text-align: center;">Chromatic semitone<br />
</td>
<td style="text-align: center;">Chroma<br />
</td>
<td><br />
</td>
</tr>
<tr>
<td style="text-align: center;">250/243<br />
</td>
<td>| 1 -5 3 ><br />
</td>
<td style="text-align: right;">49.17<br />
</td>
<td style="text-align: center;">Maximal Diesis<br />
</td>
<td style="text-align: center;">Porcupine Comma<br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">20000/19683<br />
</td>
<td>| 5 -9 4 ><br />
</td>
<td style="text-align: right;">27.66<br />
</td>
<td style="text-align: center;">Minimal Disease<br />
</td>
<td style="text-align: center;">Tricot Comma<br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">81/80<br />
</td>
<td>| -4 4 -1 ><br />
</td>
<td style="text-align: right;">21.51<br />
</td>
<td style="text-align: center;">Syntonic Comma<br />
</td>
<td style="text-align: center;">Didymos Comma<br />
</td>
<td style="text-align: center;">Meantone Comma<br />
</td>
</tr>
<tr>
<td style="text-align: center;"><br />
</td>
<td>| 9 -13 5 ><br />
</td>
<td style="text-align: right;">6.15<br />
</td>
<td style="text-align: center;">Amity Comma<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">36/35<br />
</td>
<td>| 2 2 -1 -1 ><br />
</td>
<td style="text-align: right;">48.77<br />
</td>
<td style="text-align: center;">Septimal Quarter Tone<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">525/512<br />
</td>
<td>| -9 1 2 1 ><br />
</td>
<td style="text-align: right;">43.41<br />
</td>
<td style="text-align: center;">Avicenna<br />
</td>
<td style="text-align: center;">Avicenna's Enharmonic Diesis<br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">64/63<br />
</td>
<td>| 6 -2 0 -1 ><br />
</td>
<td style="text-align: right;">27.26<br />
</td>
<td style="text-align: center;">Septimal Comma<br />
</td>
<td style="text-align: center;">Archytas' Comma<br />
</td>
<td style="text-align: center;">Leipziger Komma<br />
</td>
</tr>
<tr>
<td style="text-align: center;">875/864<br />
</td>
<td>| -5 -3 3 1 ><br />
</td>
<td style="text-align: right;">21.90<br />
</td>
<td style="text-align: center;">Keema<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">5120/5103<br />
</td>
<td>| 10 -6 1 -1 ><br />
</td>
<td style="text-align: right;">5.76<br />
</td>
<td style="text-align: center;">Hemi Family<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">6144/6125<br />
</td>
<td>| 11 1 -3 -2 ><br />
</td>
<td style="text-align: right;">5.36<br />
</td>
<td style="text-align: center;">Cornwell<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">4375/4374<br />
</td>
<td>| -1 -7 4 1 ><br />
</td>
<td style="text-align: right;">0.40<br />
</td>
<td style="text-align: center;">Ragisma<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;"><br />
</td>
<td>| 47 -7 -7 -7 ><br />
</td>
<td style="text-align: right;">0.34<br />
</td>
<td style="text-align: center;">Akjaysma<br />
</td>
<td style="text-align: center;">5\7 Octave Comma<br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">100/99<br />
</td>
<td>| 2 -2 2 0 -1 ><br />
</td>
<td style="text-align: right;">17.40<br />
</td>
<td style="text-align: center;">Ptolemies<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">121/120<br />
</td>
<td>| -3 -1 -1 0 2 ><br />
</td>
<td style="text-align: right;">14.37<br />
</td>
<td style="text-align: center;">Batista<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">176/175<br />
</td>
<td>| 4 0 -2 -1 1 ><br />
</td>
<td style="text-align: right;">9.86<br />
</td>
<td style="text-align: center;">Valinorsma<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">65536/65219<br />
</td>
<td>| 16 0 0 -2 -3 ><br />
</td>
<td style="text-align: right;">8.39<br />
</td>
<td style="text-align: center;">Organisma<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">243/242<br />
</td>
<td>| -1 5 0 0 -2 ><br />
</td>
<td style="text-align: right;">7.14<br />
</td>
<td style="text-align: center;">Rasta<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">385/384<br />
</td>
<td>| -7 -1 1 1 1 ><br />
</td>
<td style="text-align: right;">4.50<br />
</td>
<td style="text-align: center;">Keenanisma<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
<tr>
<td style="text-align: center;">4000/3993<br />
</td>
<td>| 5 -1 3 0 -3 ><br />
</td>
<td style="text-align: right;">3.03<br />
</td>
<td style="text-align: center;">Wizard Harry<br />
</td>
<td style="text-align: center;"><br />
</td>
<td style="text-align: center;"><br />
</td>
</tr>
</table>
<br />
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