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17 equal temperament

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Figure 1: 17-ET on the Regular diatonic tuning continuum at P5= 705.88 cents, from (Milne et al. 2007).[1]

In music, 17 tone equal temperament is the tempered scale derived by dividing the octave into 17 equal steps (equal frequency ratios). Each step represents a frequency ratio of 172, or 70.6 cents (play). Alexander J. Ellis refers to a tuning of seventeen tones based on perfect fourths and fifths as the Arabic scale.[2] In the thirteenth century, Middle-Eastern musician Safi al-Din Urmawi developed a theoretical system of seventeen tones to describe Arabic and Persian music, although the tones were not equally spaced. This 17-tone system remained the primary theoretical system until the development of the quarter tone scale.[citation needed]

17-ET is the tuning of the Regular diatonic tuning in which the tempered perfect fifth is equal to 705.88 cents, as shown in Figure 1 (look for the label "17-TET").

History

Notation of Easley Blackwood[3] for 17 equal temperament: intervals are notated similarly to those they approximate and enharmonic equivalents are distinct from those of 12 equal temperament (e.g., A/C). Play
Major chord on C in 17 equal temperament: all notes within 37 cents of just intonation (rather than 14 for 12 equal temperament). Play 17-et, Play just, or Play 12-et
I–IV–V–I chord progression in 17 equal temperament.[4] Play Whereas in 12TET B is 11 steps, in 17-TET B is 16 steps.

Interval size

interval name size (steps) size (cents) midi just ratio just (cents) midi error
perfect fifth 10 705.88 Play 3:2 701.96 Play +03.93
septimal tritone 08 564.71 Play 7:5 582.51 Play −17.81
tridecimal narrow tritone 08 564.71 Play 18:13 563.38 Play +01.32
undecimal super-fourth 08 564.71 Play 11:80 551.32 Play +13.39
perfect fourth 07 494.12 Play 4:3 498.04 Play 03.93
septimal major third 06 423.53 Play 9:7 435.08 Play −11.55
undecimal major third 06 423.53 Play 14:11 417.51 Play +06.02
major third 05 352.94 Play 5:4 386.31 Play −33.37
tridecimal neutral third 05 352.94 Play 16:13 359.47 Play 06.53
undecimal neutral third 05 352.94 Play 11:90 347.41 Play +05.53
minor third 04 282.35 Play 6:5 315.64 Play −33.29
tridecimal minor third 04 282.35 Play 13:11 289.21 play 06.86
septimal minor third 04 282.35 Play 7:6 266.87 Play +15.48
septimal whole tone 03 211.76 Play 8:7 231.17 Play −19.41
whole tone 03 211.76 Play 9:8 203.91 Play +07.85
neutral second, lesser undecimal 02 141.18 Play 12:11 150.64 Play 09.46
greater tridecimal 23-tone 02 141.18 Play 13:12 138.57 Play +02.60
lesser tridecimal 23-tone 02 141.18 Play 14:13 128.30 Play +12.88
septimal diatonic semitone 02 141.18 Play 15:14 119.44 Play +21.73
diatonic semitone 02 141.18 Play 16:15 111.73 Play +29.45
septimal chromatic semitone 01 070.59 Play 21:20 084.47 Play −13.88
chromatic semitone 01 070.59 Play 25:24 070.67 Play 00.08

Relation to 34-ET

17-ET is where every other step in the 34-ET scale is included, and the others are not accessible. Conversely 34-ET is a subdivision of 17-ET.

Sources

  1. ^ Milne, A., Sethares, W.A. and Plamondon, J.,"Isomorphic Controllers and Dynamic Tuning: Invariant Fingerings Across a Tuning Continuum", Computer Music Journal, Winter 2007, Vol. 31, No. 4, Pages 15-32.
  2. ^ Ellis, Alexander J. (1863). "On the Temperament of Musical Instruments with Fixed Tones", Proceedings of the Royal Society of London, Vol. 13. (1863–1864), pp. 404–422.
  3. ^ Blackwood, Easley (Summer, 1991). "Modes and Chord Progressions in Equal Tunings", p.175, Perspectives of New Music, Vol. 29, No. 2, pp. 166-200.
  4. ^ Andrew Milne, William Sethares, and James Plamondon (2007). "Isomorphic Controllers and Dynamic Tuning: Invariant Fingering over a Tuning Continuum", p.29. Computer Music Journal, 31:4, pp.15–32, Winter 2007.