Acoustics & Music Theory
why it sounds like that
Generator

Every equal division from 5 to 60, and how wrong it is

For each number of equal steps in the octave, how far its best fifth and its best major third fall from the pure ratios, in cents. The divisions people have actually used are the ones with small errors in both, and no other criterion was applied to pick them out.
Every equal division from 5 to 60, and how wrong it is. For each number of equal steps in the octave, how far its best fifth and its best major third fall from the pure ratios, in cents. The divisions people have actually used are the ones with small errors in both, and no other criterion was applied to pick them out.

Drawn above with its standard settings, which is almost never how an essay draws it: an essay states the numbers it is arguing about, so the figure a reader meets there is about that argument rather than about the drawing in general. Every option a placement passes is checked against the ones this function actually reads, because an option it does not read is silently ignored and the figure quietly draws what is above instead.

It makes a noise. 13 of its 13 placements carry sound, built from the same numbers as the drawing, offering these buttons: 12-EDO fifth and third, 19-EDO fifth and third, 29-EDO fifth and third, 31-EDO fifth and third, 41-EDO fifth and third, 53-EDO fifth and third, The best fifth 12 equal steps can make, −2.0 cents from the pure one, sounded with it, The best fifth 53 equal steps can make, −0.1 cents from the pure one, sounded with it and 3 more.

Called by 6 essays

the blast radius of changing it

Every equal division from 5 to 60, and how wrong it is. For each number of equal steps in the octave, how far its best fifth and its best major third fall from the pure ratios, in cents. The divisions people have actually used are the ones with small errors in both, and no other criterion was applied to pick them out.

Nineteen, thirty-one and fifty-three

Divide the octave into a different number of equal parts and different problems disappear. Which ones vanish is not a matter of taste — it can be computed from the prime factors of the intervals, and each division makes a different decision.

tuning · The comma The same total, distributed differently. The departure of each of the twelve major thirds from a pure 5:4, one row per temperament, keys ordered round the circle of fifths. The totals are equal — every closing temperament's twelve thirds add to 4800 cents — so what a temperament chooses is not how much error there is but which keys carry it.

What a temperament cannot do

Add up the twelve major thirds of any keyboard tuning whose chain of fifths closes and the answer is 4,800 cents. Every time, in every system, before a single fifth has been chosen. So no temperament has ever made the average third less wrong than any other one, and four hundred years of argument were about a distribution rather than about accuracy.

tuning · The comma How far a chain of fifths is from closing, after each number of fifths. The distance from a whole number of octaves after each number of pure fifths, in cents, out to 60. It is never zero, because a fifth is 3/2 and no power of 3 is a power of 2. The running minima are 1, 2, 5, 12, 41, 53 fifths, and the residue at each is that division's comma: 23.46 cents at 12, 19.84 cents at 41, 3.62 cents at 53. A 3-against-2 polyrhythm asked the same question closes exactly and at once — 3 pulses of the 3 are 2 of the 2, to the last microsecond — because 3/2 is a ratio of whole numbers and log2(3/2) is not.

A comma is a polyrhythm that never closes

Seven earlier essays have rested on a common grid. Two cycles have one when their ratio is a ratio of whole numbers, and the fifth against the octave is not — provably, from unique factorisation. So there is no grid, no composite and no least common multiple, and what is left over instead is the sequence 2, 5, 12, 41, 53 with a comma attached to each.

tuning · Polyrhythm The same census, in every universe from four to thirty. How many sets have all four properties, in a universe of n equal steps. None at all when n is two more than a multiple of four — 6, 10, 14, 18, 22, 26, 30 — exactly one when n is a multiple of four, and exactly two when n is odd. The multiples of four each have their survivor at n/2 + 1 notes generated by n/2 − 1 steps, so twelve's seven notes generated by the fifth is the general answer with n put at twelve rather than a fact about twelve.

Every universe has one, or none

Run the census that found the diatonic set in a universe of nineteen equal steps, or twenty-four, or fifty-three. The answer is completely regular and nobody appears to have written it down — none at all when the universe is two more than a multiple of four, exactly one when it is a multiple of four, and exactly two when it is odd.

tuning · The diatonic set How many notes an octave can hold, asked twice. The share of trials on which a category is named correctly, against how many equal categories the octave is cut into, for a listener whose internal estimate carries 11 cents of noise — the logistic scale this site's identification figures already use, which is the thirty-cent transition the studies report. At 95 per cent accuracy the ceiling is 6 categories, and seven scores 94.9 per cent — on the line. The other ceiling is resolution: 151 to 356 difference limens fit in an octave depending on register, which is a factor of forty larger. Every system marked below sits between the two, and the marks separate: the number of degrees a mode uses clears the criterion, and the size of the gamut it chooses them from does not.

How many boxes an octave holds

An identification model of pitch is usually handed twelve categories, and nothing ever asked how many an octave can hold. There are two answers and they are a factor of forty apart. Resolution allows between 151 and 356 — a listener can tell that many pitches apart in a direct comparison. Naming one of them without a comparison is a different faculty and it runs out at six or seven, which is where every mode in every tradition compared here sits. Turkish theory names fifty-three commas to the octave and a makam uses seven of them, and the gap between those two numbers is the whole of the argument.

intervals · Categorical-hearing Every resolution claim here, against the number it rests on. How many equal steps of the octave can be named at 95 per cent accuracy, against the internal noise the model gives a listener. The laboratory value this collection quotes everywhere is 11 cents, which gives 6 nameable categories — the "about seven per octave" every claim here has been repeating. The laboratory measures it on isolated intervals and music never presents one, so the effective value inside a piece is smaller by an amount nobody has measured: at 4 cents it is 18, which is the chromatic scale, and the conclusion changes from "the ear has fewer boxes than the notation" to "it has exactly as many". Nothing here measures it. This is what it is worth if it moves.

The number every claim here has been quoting

Sigma is the internal noise a listener's pitch judgements carry, it is measured in a laboratory on isolated intervals, and music never presents an isolated interval. Every resolution claim here rests on the laboratory value. Sweep it and the headline finding moves: at eleven cents the ear has about six nameable categories per octave, and at six it has twelve — which is the chromatic scale, and turns 'the ear has fewer boxes than the notation' into 'it has exactly as many'.

scales · Categorical-hearing

All figures · What can be heard