Ed7/3
IMPORTED REVISION FROM WIKISPACES
This is an imported revision from Wikispaces. The revision metadata is included below for reference:
- This revision was by author JosephRuhf and made on 2016-12-01 23:07:40 UTC.
- The original revision id was 601174718.
- The revision comment was:
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Original Wikitext content:
<span style="font-size: 19.5px;">Division of a tenth (e. g. 7/3) into n equal parts</span> Division of e. g. the 7:3 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of [[equivalence]] has not even been posed yet. The utility of 7:3 or another tenth as a base though, is apparent by being the absolute widest range most generally used in popular songs as well as a fairly trivial point to split the difference between the octave and the tritave. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy. Incidentally, one way to treat 7/3 as an equivalence is the use of the 3:4:5:6:(7) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes two 28/15 to get to 7/2 (tempering out the comma 225/224). So, doing this yields 5, 9, and 14 note MOS. While the notes are rather farther apart, the scheme is uncannily similar to meantone. "Macroshrutis" might be a practically perfect term for it if it hasn't been named yet.
Original HTML content:
<html><head><title>edX</title></head><body><span style="font-size: 19.5px;">Division of a tenth (e. g. 7/3) into n equal parts</span><br /> <br /> <br /> Division of e. g. the 7:3 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of <a class="wiki_link" href="/equivalence">equivalence</a> has not even been posed yet. The utility of 7:3 or another tenth as a base though, is apparent by being the absolute widest range most generally used in popular songs as well as a fairly trivial point to split the difference between the octave and the tritave. Many, though not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy.<br /> <br /> Incidentally, one way to treat 7/3 as an equivalence is the use of the 3:4:5:6:(7) chord as the fundamental complete sonority in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes two 28/15 to get to 7/2 (tempering out the comma 225/224). So, doing this yields 5, 9, and 14 note MOS. While the notes are rather farther apart, the scheme is uncannily similar to meantone. "Macroshrutis" might be a practically perfect term for it if it hasn't been named yet.</body></html>