43edo
← 42edo | 43edo | 44edo → |
43 equal divisions of the octave (abbreviated 43edo or 43ed2), also called 43-tone equal temperament (43tet) or 43 equal temperament (43et) when viewed under a regular temperament perspective, is the tuning system that divides the octave into 43 equal parts of about 27.9 ¢ each. Each step represents a frequency ratio of 21/43, or the 43rd root of 2.
History
The French Baroque acoustician Joseph Sauveur, who was ironically hearing and speech impaired, based his tuning system on 43 equal tones to the octave, calling one step a méride. Sauveur favoured 43-tone equal temperament because the small intervals are well represented in it.[1]
The composer Juhan Puhm uses 43edo in some of his fortepiano suites and prefers it to 31edo.
Theory
43edo tempers out 81/80 in the 5-limit, and as such it is strongly associated with meantone. Specifically, it is (for all practical purposes) equivalent to 1/5-comma meantone, as it tunes the major third sharp of 5/4 and perfect fifth flat of 3/2 by slightly more than four cents on both of them. It also tempers out the hypovishnuzma and the escapade comma, so that six chromatic semitones make a perfect fourth and eight minor seconds make a major sixth.
Except for 9/7, 11/9, 14/9, and 18/11, all 15-odd-limit intervals have consistent approximations in 43edo, making it an excellent tuning in the 7-, 11-, and 13-limit. In the 7-limit, it supports septimal meantone, as it tempers out 126/125, 225/224, and 3136/3125. The version of 11-limit meantone is the one tempering out 99/98, 176/175, and 441/440, sometimes called Huygens. In the 13-limit it supports meridetone, which tempers out 78/77, and grosstone, which tempers out 144/143. Meridetone has generator map ⟨0 1 4 10 18 27], for which 43 supplies the optimal patent val for, and grosstone ⟨0 1 4 10 18 -16].
43edo's patent val ⟨43 68 100 121 149 159] maps 5 to 100 steps, allowing the divison of 5 into 20 equal parts, leading to the jerome temperament, an interesting higher-limit system for which 43 supplies the optimal patent val in the 7-, 11-, 13-, 17-, 19-, and even 23-limit. It also provides the optimal patent val for the 11- and 13-limit amavil temperament, which is not meantone. Thuja is also a possibility, whose 11-limit extension makes five 11/8s stack to a major third (i.e. (11/8)5 → 5/1), with moses of 15 and 28.
Prime harmonics
Harmonic | 2 | 3 | 5 | 7 | 11 | 13 | 17 | 19 | 23 | 29 | 31 | 37 | |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Error | Absolute (¢) | +0.0 | -4.3 | +4.4 | +7.9 | +6.8 | -3.3 | +6.7 | +9.5 | +13.6 | +3.0 | -0.8 | -0.2 |
Relative (%) | +0.0 | -15.3 | +15.7 | +28.4 | +24.4 | -11.9 | +23.9 | +33.9 | +48.7 | +10.7 | -3.0 | -0.6 | |
Steps (reduced) |
43 (0) |
68 (25) |
100 (14) |
121 (35) |
149 (20) |
159 (30) |
176 (4) |
183 (11) |
195 (23) |
209 (37) |
213 (41) |
224 (9) |
Harmonic | 41 | 43 | 47 | 53 | 59 | 61 | 67 | 71 | 73 | 79 | 83 | 89 | |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Error | Absolute (¢) | -10.5 | -9.2 | +4.3 | -8.4 | +1.3 | -0.6 | +4.4 | -12.3 | -4.5 | -1.7 | -3.5 | -12.7 |
Relative (%) | -37.5 | -32.9 | +15.3 | -30.1 | +4.6 | -2.2 | +15.8 | -43.9 | -16.2 | -6.3 | -12.7 | -45.7 | |
Steps (reduced) |
230 (15) |
233 (18) |
239 (24) |
246 (31) |
253 (38) |
255 (40) |
261 (3) |
264 (6) |
266 (8) |
271 (13) |
274 (16) |
278 (20) |
Harmonic | 97 | 101 | 103 | 107 | 109 | 113 | 127 | 131 | 137 | 139 | 149 | 151 | |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Error | Absolute (¢) | +5.7 | -8.5 | +13.4 | +3.3 | -0.9 | -7.5 | +13.6 | -12.2 | -6.0 | -3.2 | -11.8 | -7.0 |
Relative (%) | +20.4 | -30.3 | +48.0 | +11.7 | -3.2 | -26.8 | +48.7 | -43.7 | -21.5 | -11.4 | -42.4 | -25.1 | |
Steps (reduced) |
284 (26) |
286 (28) |
288 (30) |
290 (32) |
291 (33) |
293 (35) |
301 (0) |
302 (1) |
305 (4) |
306 (5) |
310 (9) |
311 (10) |
Although not consistent, 43edo performs quite well in very high prime limits. It has unambiguous mappings for all prime harmonics up to 113 (after which the demands on its pitch resolution finally become too great), with the sole exceptions of 23, 71, 89, and 103, making a great Ringer scale. Mappings for ratios between these prime harmonics can then be derived from those for the primes themselves, allowing for a complete set of approximations to the first 16 harmonics in the harmonic series and an almost-complete approximation of the first 32 harmonics, although the limited consistency will give some unusual results. Indeed, one step of 43edo is very close to the septimal comma (64/63); similarly, two steps is close to 32/31, and four steps tunes 16/15 almost perfectly.
43edo has less than 35% relative error (less than 10 cents error) on an impressive 17 of the 19 prime harmonics in the 67-limit. The only ones it misses are 23 and 41. So it can be used as a solid full 19-limit tuning, or as a solid no-23-or-41 67-limit tuning.
It approximates harmonics 31, 37 and 61 close to exactly - within less than a cent (less than 3% relative error). It approximates 3, 13, 43, 53 and 61 slightly flat. It approximates 5, 7, 11, 17, 19, 29, 47, 59 and 67 slightly sharp. Overall this gives 43edo a slightly sharp tendency/feeling, though with the major exception of harmonic 3 (the perfect fifth).
Divisors
43edo is the 14th prime edo, following 41edo and coming before 47edo.
Intervals
The distance from C to C♯ is 3 edosteps (or keys, frets). Thus one edostep equals one third of a sharp.
# | Cents | Approximate 17-limit Ratios | Ups and Downs Notation | ||
---|---|---|---|---|---|
0 | 0.000 | 1/1 | P1 | perfect unison | D |
1 | 27.907 | 36/35, 50/49, 64/63, 65/64, 66/65 | ^1, d2 | up unison, dim 2nd | ^D, Ebb |
2 | 55.814 | 49/48, 33/32 | vA1, ^d2 | downaug unison, updim 2nd | vD#, ^Ebb |
3 | 83.721 | 25/24, 21/20, 28/27, 22/21, 18/17 | A1, vm2 | aug 1sn, downminor 2nd | D#, vEb |
4 | 111.628 | 16/15, 15/14, 17/16 | m2 | minor 2nd | Eb |
5 | 139.535 | 12/11, 13/12, 14/13 | ^m2 | upminor 2nd | ^Eb |
6 | 167.442 | 11/10 | vM2 | downmajor 2nd | vE |
7 | 195.349 | 9/8, 10/9 | M2 | major 2nd | E |
8 | 223.256 | 8/7 | ^M2, d3 | upmajor 2nd, dim 3rd | ^E, Fb |
9 | 251.163 | 15/13 | vA2, ^d3 | downaug 2nd, updim 3rd | vE#, ^Fb |
10 | 279.070 | 7/6, 13/11 | A2, vm3 | aug 2nd, downminor 3rd | E#, vF |
11 | 306.977 | 6/5 | m3 | minor 3rd | F |
12 | 334.884 | 39/32, 17/14 | ^m3 | upminor 3rd | ^F |
13 | 362.791 | 16/13, 21/17, 11/9 | vM3 | downmajor 3rd | vF# |
14 | 390.698 | 5/4 | M3 | major 3rd | F# |
15 | 418.605 | 9/7, 14/11 | ^M3, d4 | upmajor 3rd, dim 4th | ^F#, Gb |
16 | 446.512 | 13/10 | vA3, ^d4 | downaug 3rd, updim 4th | vFx, ^Gb |
17 | 474.419 | 21/16 | v4 | down 4th | vG |
18 | 502.326 | 4/3 | P4 | perfect 4th | G |
19 | 530.233 | 15/11 | ^4 | up 4th | ^G |
20 | 558.140 | 11/8, 18/13 | vA4 | downaug 4th | vG# |
21 | 586.047 | 45/32, 7/5, 24/17 | A4, vd5 | aug 4th, downdim 5th | G#, ^Ab |
22 | 613.953 | 64/45, 10/7, 17/12 | ^A4, d5 | upaug 4th, dim 5th | ^G#, Ab |
23 | 641.860 | 16/11, 13/9 | ^d5 | updim 5th | ^Ab |
24 | 669.767 | 22/15 | v5 | down 5th | vA |
25 | 697.674 | 3/2 | P5 | perfect 5th | A |
26 | 725.581 | 32/21 | ^5 | up 5th | ^A |
27 | 753.488 | 20/13 | vA5, ^d6 | downaug 5th, updim 6th | vA#, ^Bbb |
28 | 781.395 | 14/9, 11/7 | A5, vm6 | aug 5th, downminor 6th | A#, vBb |
29 | 809.302 | 8/5 | m6 | minor 6th | Bb |
30 | 837.209 | 13/8, 34/21, 18/11 | ^m6 | upminor 6th | ^Bb |
31 | 865.116 | 64/39, 28/17 | vM6 | downmajor 6th | vB |
32 | 893.023 | 5/3 | M6 | major 6th | B |
33 | 920.930 | 12/7, 22/13 | ^M6, d7 | upmajor 6th, dim 7th | ^B, Cb |
34 | 948.837 | 26/15 | vA6, ^d7 | downaug 6th, updim 7th | vB#, ^Cb |
35 | 976.744 | 7/4 | A6, vm7 | aug 6th, downminor 7th | B#, vC |
36 | 1004.651 | 16/9, 9/5 | m7 | minor 7th | C |
37 | 1032.558 | 20/11 | ^m7 | upminor 7th | ^C |
38 | 1060.465 | 11/6, 24/13, 13/7 | vM7 | downmajor 7th | vC# |
39 | 1088.372 | 15/8, 28/15, 32/17 | M7 | major 7th | C# |
40 | 1116.279 | 48/25, 40/21, 27/14, 21/11, 17/9 | ^M7, d8 | upmajor 7th, dim 8ve | ^C#, Db |
41 | 1144.186 | 96/49, 64/33 | vA7, ^d8 | downaug 7th, updim 8ve | vCx, ^Db |
42 | 1172.093 | 35/18, 49/25, 63/32, 65/33, 128/65 | A7, v8 | aug 7th, down 8ve | Cx, vD |
43 | 1200.000 | 2/1 | P8 | perfect 8ve | D |
Chords can be named using ups and downs as C upminor, D downmajor seven, etc. See Ups and Downs Notation #Chords and Chord Progressions.
JI approximation
Interval mappings
The following tables show how 15-odd-limit intervals are represented in 43edo. Prime harmonics are in bold; inconsistent intervals are in italics.
Interval and complement | Error (abs, ¢) | Error (rel, %) |
---|---|---|
1/1, 2/1 | 0.000 | 0.0 |
15/8, 16/15 | 0.103 | 0.4 |
13/12, 24/13 | 0.962 | 3.4 |
11/7, 14/11 | 1.097 | 3.9 |
11/10, 20/11 | 2.438 | 8.7 |
13/8, 16/13 | 3.318 | 11.9 |
15/13, 26/15 | 3.422 | 12.3 |
7/5, 10/7 | 3.534 | 12.7 |
3/2, 4/3 | 4.281 | 15.3 |
5/4, 8/5 | 4.384 | 15.7 |
13/9, 18/13 | 5.243 | 18.8 |
15/11, 22/15 | 6.718 | 24.1 |
11/8, 16/11 | 6.822 | 24.4 |
13/10, 20/13 | 7.702 | 27.6 |
15/14, 28/15 | 7.815 | 28.0 |
7/4, 8/7 | 7.918 | 28.4 |
9/8, 16/9 | 8.561 | 30.7 |
5/3, 6/5 | 8.665 | 31.0 |
13/11, 22/13 | 10.140 | 36.3 |
11/6, 12/11 | 11.102 | 39.8 |
13/7, 14/13 | 11.237 | 40.3 |
9/7, 14/9 | 11.428 | 40.9 |
7/6, 12/7 | 12.199 | 43.7 |
11/9, 18/11 | 12.524 | 44.9 |
9/5, 10/9 | 12.945 | 46.4 |
Interval and complement | Error (abs, ¢) | Error (rel, %) |
---|---|---|
1/1, 2/1 | 0.000 | 0.0 |
15/8, 16/15 | 0.103 | 0.4 |
13/12, 24/13 | 0.962 | 3.4 |
11/7, 14/11 | 1.097 | 3.9 |
11/10, 20/11 | 2.438 | 8.7 |
13/8, 16/13 | 3.318 | 11.9 |
15/13, 26/15 | 3.422 | 12.3 |
7/5, 10/7 | 3.534 | 12.7 |
3/2, 4/3 | 4.281 | 15.3 |
5/4, 8/5 | 4.384 | 15.7 |
13/9, 18/13 | 5.243 | 18.8 |
15/11, 22/15 | 6.718 | 24.1 |
11/8, 16/11 | 6.822 | 24.4 |
13/10, 20/13 | 7.702 | 27.6 |
15/14, 28/15 | 7.815 | 28.0 |
7/4, 8/7 | 7.918 | 28.4 |
9/8, 16/9 | 8.561 | 30.7 |
5/3, 6/5 | 8.665 | 31.0 |
13/11, 22/13 | 10.140 | 36.3 |
11/6, 12/11 | 11.102 | 39.8 |
13/7, 14/13 | 11.237 | 40.3 |
7/6, 12/7 | 12.199 | 43.7 |
9/5, 10/9 | 12.945 | 46.4 |
11/9, 18/11 | 15.383 | 55.1 |
9/7, 14/9 | 16.479 | 59.1 |
Notation
Red-Blue Notation
Because 43edo is a meantone system, this makes it easier to adapt traditional Western notation to it than to some other tunings. A♯ and B♭ are distinct and the distance between them is one meride. The whole tone is divided into seven merides so this means we can use "third-sharps", "two-thirds-sharps", "third-flats", and "two-thirds-flats" to reach the remaining notes between A and B; notes elsewhere on the scale can be notated similarly.
For people who aren't colorblind, a red-note/blue-note system (similar to that proposed for 36edo) can be used. (Note that this is different than Kite's color notation.) Now we have the following sequence of notes, each separated by one meride: A , A , A♯ , A♯ , B♭ , B♭ , B , B . (Note that red sharps or blue flats are enharmonically equivalent to simpler notes: A♯ is enharmonic to B♭, and B♭ is actually just A♯).
The diatonic semitone is four steps, so for the region between B and C, we can use: B , C♭ , B♯ / C♭ (they are enharmonic equivalents), B♯ , and C . All of the notes in 43edo therefore have unambiguous names except for B♯ / C♭ , and E♯ / F♭ . It might also be possible to design special symbols for those two notes (resembling a cross between the letters B and C in the former case, and E and F in the latter).
If C♭ and B♯ (and F♭ / E♯ ) are instead forced to be distinct, but the requirement that all notes be equally spaced is maintained, then we end up with a completely unambiguous red-note/blue-note notation for 45edo, which is another meantone (actually, a flattone) system.
Ups and downs notation
The third-sharps and third-flats can also be notated using ups and downs notation and extended Helmholtz–Ellis accidentals:
Step Offset | 0 | 1 | 2 | 3 | 4 | 5 | 6 | 7 |
---|---|---|---|---|---|---|---|---|
Sharp Symbol | ||||||||
Flat Symbol |
The notes between A and B can then be notated as A, A , A , A♯, B♭, B , B , B. Note that A♯ is enharmonic to B , and B♭ is enharmonic to A .
The notes from B to C are B, C♭, B / C , B♯, and C. Similarily, the notes from E to F are E, F♭, E / F , E♯, and F. As with the red/blue note system described above, all notes in 43edo therefore have unambiguous names except for B / C and E / F .
Double or even triple arrows may arise if the arrows are taken to have their own layer of enharmonic spellings.
Sagittal
The following table shows sagittal notation accidentals in one apotome for 43do.
Steps | 0 | 1 | 2 | 3 |
---|---|---|---|---|
Symbol |
Regular temperament properties
Subgroup | Comma list | Mapping | Optimal 8ve stretch (¢) |
Tuning error | |
---|---|---|---|---|---|
Absolute (¢) | Relative (%) | ||||
2.3 | [-68 43⟩ | [⟨43 68]] | +1.35 | 1.35 | 4.84 |
2.3.5 | 81/80, 50331648/48828125 | [⟨43 68 100]] | +0.27 | 1.88 | 6.75 |
2.3.5.7 | 81/80, 126/125, 17280/16807 | [⟨43 68 100 121]] | −0.51 | 2.11 | 7.56 |
2.3.5.7.11 | 81/80, 99/98, 126/125, 864/847 | [⟨43 68 100 121 149]] | −0.80 | 1.98 | 7.08 |
2.3.5.7.11.13 | 78/77, 81/80, 99/98, 126/125, 144/143 | [⟨43 68 100 121 149 159]] | −0.52 | 1.91 | 6.85 |
2.3.5.7.11.13.17 | 78/77, 81/80, 99/98, 120/119, 126/125, 144/143 | [⟨43 68 100 121 149 159 176]] | −0.52 | 1.81 | 6.49 |
2.3.5.7.11.13.17.19 | 78/77, 81/80, 99/98, 120/119, 126/125, 135/133, 144/143 | [⟨43 68 100 121 149 159 176 183]] | −0.87 | 1.77 | 6.34 |
Commas
This is a partial list of the 19-limit commas that 43edo tempers out with its patent val, ⟨43 68 100 121 149 159 176 183].
Prime Limit |
Ratio[note 1] | Monzo | Cents | Color name | Name(s) |
---|---|---|---|---|---|
3 | (42 digits) | [-68 43⟩ | 184.07 | Tribilawa | 43-comma |
5 | (18 digits) | [20 5 -12⟩ | 74.01 | Saquadtrigu | Hypovishnuzma |
5 | (16 digits) | [24 1 -11⟩ | 52.50 | Salegu | Magus comma |
5 | 81/80 | [-4 4 -1⟩ | 21.51 | Gu | Syntonic comma, Didymus comma, meantone comma |
5 | (20 digits) | [32 -7 -9⟩ | 9.49 | Sasa-tritrigu | Escapade comma |
5 | (42 digits) | [-68 18 17⟩ | 2.52 | Quinla-seyo | Vavoom comma |
7 | 59049/57344 | [-13 10 0 -1⟩ | 50.72 | Laru | Harrison's comma |
7 | 3645/3584 | [-9 6 1 -1⟩ | 29.22 | Laruyo | Schismean comma |
7 | (14 digits) | [5 -1 7 -7⟩ | 20.46 | Sepruyo | Mermisma |
7 | 126/125 | [1 2 -3 1⟩ | 13.80 | Zotrigu | Starling comma |
7 | (14 digits) | [21 -5 -2 -3⟩ | 11.12 | Satriru-agugu | Bronzisma |
7 | (18 digits) | [-14 7 -6 6⟩ | 8.76 | Latribizogu | Historisma |
7 | 225/224 | [-5 2 2 -1⟩ | 7.71 | Ruyoyo | Septimal kleisma, Marvel comma |
7 | 3136/3125 | [6 0 -5 2⟩ | 6.08 | Zozoquingu | Hemimean comma |
7 | (12 digits) | [-11 2 7 -3⟩ | 1.63 | Latriru-asepyo | Meter comma |
11 | 1350/1331 | [1 3 2 0 -3⟩ | 24.54 | Trilu-ayoyo | Large Tetracot diesis |
11 | 99/98 | [-1 2 0 -2 1⟩ | 17.58 | Loruru | Mothwellsma |
11 | 176/175 | [4 0 -2 -1 1⟩ | 9.86 | Lorugugu | Valinorsma |
11 | 441/440 | [-3 2 -1 2 -1⟩ | 3.93 | Luzozogu | Werckisma |
11 | 4000/3993 | [5 -1 3 0 -3⟩ | 3.03 | Triluyo | Wizardharry comma, pine comma |
11 | (12 digits) | [17 -5 0 -2 -1⟩ | 1.26 | Salururu | Olympic comma |
11 | (18 digits) | [24 -6 0 1 -5⟩ | 0.51 | Saquinlu-azo | Quartisma |
13 | 78/77 | [1 1 0 -1 -1 1⟩ | 22.34 | Tholuru | Negustma |
13 | 144/143 | [4 2 0 0 -1 -1⟩ | 12.06 | Thulu | Grossma |
13 | 169/168 | [-3 -1 0 -1 0 2⟩ | 10.27 | Thothoru | Buzurgisma, dhanvantarisma |
13 | (12 digits) | [9 6 0 0 0 -5⟩ | 9.09 | Quinthu | Glacier comma |
13 | 364/363 | [2 -1 0 1 -2 1⟩ | 4.76 | Tholuluzo | Minor minthma |
13 | 1001/1000 | [-3 0 -3 1 1 1⟩ | 1.73 | Tholozotrigu | Fairytale comma, sinbadma |
13 | 2080/2079 | [5 -3 1 -1 -1 1⟩ | 0.83 | Tholuruyo | Ibnsinma, sinaisma |
13 | 4096/4095 | [12 -2 -1 -1 0 -1⟩ | 0.42 | Sathurugu | Schismina |
17 | 120/119 | [3 1 1 -1 0 0 -1⟩ | 14.49 | Suruyo | Lynchisma |
17 | 221/220 | [-2 0 -1 0 -1 1 1⟩ | 7.85 | Sotholugu | Minor naiadma |
17 | 256/255 | [8 -1 -1 0 0 0 -1⟩ | 6.78 | Sugu | Charisma, septendecimal kleisma |
17 | 273/272 | [5 1 -1 0 0 0 0 -1⟩ | 6.35 | Suthozo | Tannisma |
17 | 715/714 | [-1 -1 1 -1 1 1 -1⟩ | 2.42 | Sutholoruyo | September comma |
19 | 96/95 | [5 1 -1 0 0 0 0 -1⟩ | 18.13 | Nugu | 19th Partial chroma |
19 | 153/152 | [-3 2 0 0 0 0 1 -1⟩ | 11.35 | Nuso | Ganassisma |
19 | 171/170 | [-1 2 -1 0 0 0 -1 1⟩ | 10.15 | Nosugu | Malcolmisma |
19 | 209/208 | [-4 0 0 0 1 -1 0 1⟩ | 8.30 | Nothulo | Yama comma |
19 | 210/209 | [1 1 1 1 -1 0 0 -1⟩ | 8.26 | Nuluzoyo | Spleen comma |
- ↑ Ratios longer than 10 digits are presented by placeholders with informative hints
Rank-2 temperaments
Periods per 8ve |
Generator* | Cents* | Associated ratio* |
Temperaments |
---|---|---|---|---|
1 | 1\43 | 27.91 | 64/63 | Arch |
1 | 2\43 | 55.81 | 33/32 | Escapade |
1 | 4\43 | 111.63 | 16/15 | Vavoom |
1 | 5\43 | 139.53 | 13/12 | Jerome |
1 | 6\43 | 167.44 | 11/10 | Superpine |
1 | 7\43 | 195.35 | 28/25 | Didacus |
1 | 8\43 | 223.26 | 8/7 | Kumonga |
1 | 9\43 | 251.16 | 15/13 | Hemimeantone |
1 | 10\43 | 279.07 | 75/64 | Decipentic |
1 | 11\43 | 334.88 | 17/14 | Cohemimabila |
1 | 13\43 | 362.79 | 16/13 | Submajor (43e) / interpental (43) |
1 | 14\43 | 390.70 | 5/4 | Amigo |
1 | 16\43 | 446.51 | 13/10 | Supersensi |
1 | 18\43 | 502.33 | 4/3 | Meantone |
1 | 19\43 | 530.23 | 15/11 | Amavil |
1 | 20\43 | 558.14 | 11/8 | Thuja |
1 | 21\43 | 586.05 | 7/5 | Merman |
* Octave-reduced form, reduced to the first half-octave, and minimal form in parentheses if it is distinct
Detemperaments
Ringer 43
The metaphorical color palette that the intervals of 43edo present can be quite appealing for various reasons such as being meantone and splitting 4/3 into 6 equal parts and 3/2 into 5 equal parts, but the accuracy leaves one wanting in many cases, which is why an excellent alternative (given the unambiguity of mappings of all primes in the 109-limit except 71 and 89) is Ringer 43, a Ringer scale with 43 notes per octave period:
55:56:57:58:59:60:61:62:63:64:65:66:67:68:69:70:72:73:74:75:76:78:79:80:82:83:84:86:87:88:90:91:92:94:96:97:98:100:102:104:106:108:109:110
Or equivalently in the form of reduced, rooted intervals:
65/64, 33/32, 67/64, 17/16, 69/64, 35/32, 9/8, 73/64, 37/32, 75/64, 19/16, 39/32, 79/64, 5/4, 41/32, 83/64, 21/16, 43/32, 87/64, 11/8, 45/32, 91/64, 23/16, 47/32, 3/2, 97/64, 49/32, 25/16, 51/64, 13/8, 53/32, 27/16, 109/64, 55/32, 7/4, 57/32, 29/16, 59/32, 15/8, 61/32, 31/16, 63/32, 2/1
Scales
MOS scales
Harmonic scales
43edo represents the first 16 overtones of the harmonic series well (written as a ratio of 8:9:10:11:12:13:14:15:16 in just intonation) with degrees 0, 7, 14, 20, 25, 30, 35, 39, and 43, and scale steps of 7, 7, 6, 5, 5, 5, 4, and 4.
- 7\43 (195.349¢) stands in for frequency ratio 9/8 (203.910¢) and 10/9 (182.404¢).
- 6\43 (156.522¢) stands in for 11/10 (165.004¢)
- 5\46 (130.435¢) stands in for 12/11 (150.637¢), 13/12 (138.573¢), and 14/13 (128.298¢).
- 4\43 (111.628¢) stands in for 15/14 (119.443¢) and 16/15 (111.731¢).
Harmonic | Note (starting from C) |
---|---|
1 | C |
3 | G |
5 | E |
7 | A♯, B |
9 | D |
11 | E𝄪, F , F |
13 | B♭♭♭, A |
15 | B |
Subsets of Meantone
Major scales
- Ionian Pentatonic: 14 4 7 14 4
- Major: 7 7 4 7 7 7 4
- Major Pentatonic: 7 7 11 7 11
Minor scales
- Minor: 7 4 7 7 4 7 7
- Minor Harmonic: 7 4 7 7 4 10 4
- Minor Harmonic Pentatonic: 7 4 14 14 4
- Minor Hexatonic: 7 4 7 7 11 7
- Minor Melodic: 7 4 7 7 7 7 4
- Minor Pentatonic: 11 7 7 11 7
Modal scales
- Dorian: 7 4 7 7 7 4 7
- Locrian: 4 7 7 4 7 7 7
- Lydian: 7 7 7 4 7 7 4
- Mixolydian: 7 7 4 7 7 4 7
- Mixolydian Harmonic: 14 4 7 4 7 7
- Mixolydian Pentatonic: 14 4 7 11 7
- Phrygian: 4 7 7 7 4 7 7
- Phrygian Dominant: 4 10 4 7 4 7 7
- Phrygian Dominant Hexatonic: 4 10 4 7 11 7
- Phrygian Dominant Pentatonic: 14 4 7 4 14
- Phrygian Pentatonic: 4 7 14 4 14
Blues scales
- Blues Aeolian Hexatonic: 11 7 4 3 4 14
- Blues Aeolian Pentatonic I: 11 7 7 4 14
- Blues Aeolian Pentatonic II: 11 14 4 7 7
- Blues Bright Double Harmonic: 4 10 4 7 4 7 3 4
- Blues Dark Double Harmonic: 7 4 7 4 3 4 10 4
- Blues Dorian Hexatonic: 11 7 7 7 4 7
- Blues Dorian Pentatonic: 11 14 7 4 7
- Blues Dorian Septatonic: 11 7 4 3 7 4 7
- Blues Harmonic Hexatonic: 7 4 7 7 14 4
- Blues Harmonic Septatonic: 11 7 4 3 4 10 4
- Blues Leading: 11 7 4 3 11 3 4
- Blues Minor: 11 7 4 3 11 7
- Blues Minor Maj7: 11 7 4 3 14 4
- Blues Pentachordal: 7 4 7 4 3 18
- Hyperblue Dorian: 11 7 2 5 9 2 7
- Hyperblue Harmonic: 11 7 2 5 3 12 3
Others
- Akebono I: 7 4 14 7 11
- Dominant Pentatonic: 7 7 11 11 7
- Double Harmonic: 4 10 4 7 4 10 4
- Hirajoshi: 7 4 14 4 14
- Javanese Pentachordal: 4 7 11 3 18
- Picardy Hexatonic: 7 7 4 7 4 14
- Picardy Pentatonic: 7 7 11 4 14
Other notable scales
- Fossa pentatonic scale (approximated from catnip in 60edo): 5 14 6 6 12
- Magnetosphere scale (approximated from Hexany 1728): 4 10 11 11 7
Music
Modern renderings
- Prelude in C minor, BWV 999 (1717–1723) – transposed into E minor, arranged for Organ and rendered by Claudi Meneghin (2024)
- "Contrapunctus 4" from The Art of Fugue, BWV 1080 (1742–1749) – rendered by Claudi Meneghin (2024)
- "Contrapunctus 11" from The Art of Fugue, BWV 1080 (1742–1749) – rendered by Claudi Meneghin (2024)
- Prelude in E Minor "The Great" – rendered by Claudi Meneghin (2023)
- Prelude in E Minor "The Little" – rendered by Claudi Meneghin (2024)
- Suite in D minor HWV 428 for Harpsichord - Allemande (1720) – rendered by Claudi Meneghin (2024)
- Maple Leaf Rag (1899) – arranged for harpsichord and rendered by Claudi Meneghin (2024)
- Pensées Intimes – rendered by MortisTheneRd (2024)
21st century
- 43 edo counterpoint.mid mp3 [dead link] (late 2011) – in meantone
- Gamelan-Inspired Improvisation in 43edo, Fossa Scale (Nov 2024) - YouTube
- Time Travel (2021)
- "Beebounce" from Jazzbeetle (2023) – Spotify | Bandcamp | YouTube – jazzy big band electronic hybrid
Instruments
Keyboards
A possible isomorphic keyboard layout for 43edo:
References
External links
Articles
- méride / 43-ed2 / 43-edo / 43-ET / 43-tone equal-temperament on Tonalsoft Encyclopedia
- Harmonic Resources of 43Et EMT and 43EBMT by Juhan Puhm (2018)
Diagrams
- Keys and Modes of 43Et by Juhan Puhm (2016)
- Keyboard Mapping for 43Et by Juhan Puhm (2017)
- Mapping Range for 43Et by Juhan Puhm (2017)