Macrotonal edonois
IMPORTED REVISION FROM WIKISPACES
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- This revision was by author Andrew_Heathwaite and made on 2009-12-24 18:05:24 UTC.
- The original revision id was 111024331.
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Original Wikitext content:
EDONOI is short for "equal divisions of a non-octave interval". Examples include the equal-tempered [[BP|Bohlen-Pierce scale]] (a.k.a. the 13th root of 3), [[Carlos Alpha]], [[Carlos Beta]], [[Carlos Gamma]], the [[19ED3|19th root of 3]], the [[6edf|6th root of 3:2]] , [[88cET]] and the [[square root of 13 over 10|square root of 13:10]] . Some EDONOI contain an interval close to a 2:1 that might function like a stretched or squashed octave. They can thus be considered variations on [[edo]]s. Other EDONOI contain no approximation of an octave or a compound octave (at least, not for a while), and continue generating new tones as they continue upward or downward. Such scales lack a very familiar compositional [[redundancy]], that of octave equivalence, and thus require special attention.
Original HTML content:
<html><head><title>macrotonal edonois</title></head><body>EDONOI is short for "equal divisions of a non-octave interval".<br /> <br /> Examples include the equal-tempered <a class="wiki_link" href="/BP">Bohlen-Pierce scale</a> (a.k.a. the 13th root of 3), <a class="wiki_link" href="/Carlos%20Alpha">Carlos Alpha</a>, <a class="wiki_link" href="/Carlos%20Beta">Carlos Beta</a>, <a class="wiki_link" href="/Carlos%20Gamma">Carlos Gamma</a>, the <a class="wiki_link" href="/19ED3">19th root of 3</a>, the <a class="wiki_link" href="/6edf">6th root of 3:2</a> , <a class="wiki_link" href="/88cET">88cET</a> and the <a class="wiki_link" href="/square%20root%20of%2013%20over%2010">square root of 13:10</a> .<br /> <br /> Some EDONOI contain an interval close to a 2:1 that might function like a stretched or squashed octave. They can thus be considered variations on <a class="wiki_link" href="/edo">edo</a>s.<br /> <br /> Other EDONOI contain no approximation of an octave or a compound octave (at least, not for a while), and continue generating new tones as they continue upward or downward. Such scales lack a very familiar compositional <a class="wiki_link" href="/redundancy">redundancy</a>, that of octave equivalence, and thus require special attention.</body></html>