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Message: 4400

Date: Thu, 23 Aug 2001 03:12:18

Subject: EDO consistency and accuracy tables (was: A little research...)

From: Dave Keenan

--- In tuning-math@y..., BobWendell@t... wrote:
> I have long been interested in coming up 
> with an EDO that would meet the following requirements:
> 
> 1) P5s and M3s less than 3 cents from JI
> 
> 2) all primes through 19 less than 5 cents from JI
> 
> 3) The smallest number of scale degrees possible while meeting 
> requirements 1 and 2

Bob,

These and many such questions are easily answered thanks to Paul Hahn.

All tuning-math-ers should have copies of the 3 files that I just put 
up at
<Yahoo groups: /tuning-math/files/EDO consistency a *
nd%20accuracy/>

Are these already available somewhere else on the web?

Paul Hahn didn't even put his name in the files so I can't see him 
worrying about copyright. I'll take that risk. But does anyone know 
what year he created them so I can include it in the acknowledgement?

Regards,
-- Dave Keenan


top of page bottom of page up down Message: 4401 Date: Thu, 23 Aug 2001 18:28:24 Subject: Re: Chromatic = commatic? From: Paul Erlich --- In tuning-math@y..., graham@m... wrote: > In-Reply-To: <9m12rc+9cqs@e...> > Paul wrote: > > > > The octave-equivalent algebra doesn't distinguish the different > > repeating > > > blocks. > > > > Sure it does. The symmetrical decatonic scale (LssssLssss) has 10 > > notes -- two repeating blocks per octave. > > But how can you say "per octave" in a system that doesn't recognize > octaves? What do you mean, doesn't recognize octaves? Octave-equivalence is assumed right from the beginning, in the construction of the 7-limit periodicity block. > > > > The linear temperament result tells you the number of > > > times the period goes into the interval of equivalence (octave) > > > > Exactly! So the WF definition, where the period _is_ the interval of > > equivalence, won't do. > > Only if their definition of "interval of equivalence" is the same as > yours. Whatever the definition, I don't expect they intended to exclude > this case. Then why on earth didn't they list the Messaien scale and the diminished (octatonic) scale and the augmented (hexatonic) scale, etc. in their list?? Certainly the list was geared toward those thinking about a tuning of 12 notes per _octave_. > > > > > and the > > > mapping in terms of generators. Again, you need the octave- > > specific > > > algebra, or the metric, to get the mapping by generators *and* > > periods. > > > Effectively, the octave-equivalent algebra collapses so that the > > interval > > > of equivalence becomes the period in any given context. > > > > What do you mean? For the symmetrical decatonic, the interval of > > equivalence remains _two_ periods whether you're looking octave- > > equivalently or not. > > It doesn't look that way to me. That scale can be defined as a > periodicity block by > > [-1 2 0] > [ 0 2 -2] > [-2 0 -1] > > The adjoint is > > [-2 2 -4] > [ 4 1 -2] > [ 4 -4 -2] > > The left hand column defines the generator mapping, which we can write as > [ 1] > -2*[-2] > [-2] > > The minus sign isn't important. The 2 tells us the new interval of > equivalence is half the old one. That's your interpretation. But it isn't correct! We have 10 equivalence classes in this group, and this half-octave takes you from one equivalence class to another -- not to the same one. > The > > [ 1] > [-2] > [-2] > > gives us the mapping by the generator modulo this new interval of > equivalence. 16:15 is [-1 -1 0] times > > [ 1] > [-2] > [-2] > > or 1 generator. 3:2 is [1 0 0] or 1 generator. Where does the algebra > tell us these two intervals are not equivalent? Where does it tell us they are? Yes, they're _both_ generators. Because of the symmetry, there is more than one possible generator. Think of a prime-numbered ET -- how many generators does that have?
top of page bottom of page up down Message: 4402 Date: Thu, 23 Aug 2001 06:30:42 Subject: Now I think "the hypothesis" is true :) From: genewardsmith@xxxx.xxx --- In tuning-math@y..., "Dave Keenan" <D.KEENAN@U...> wrote: > What makes the apparent relationship between MOS and > tempered periodicity blocks hard to fathom ... Well, tastes differ. I certainly hope your definition is correct, because: (1) It makes sense (2) It certainly seems like a condition we would want a scale with one generator in the octave to satisfy (3) It explains why Paul's hypothesis is true. For the last, note if for instance we want a q-step scale generated by interating the p-th step, where p/q is approximately log_2(3/2), so that fifths are represented by p steps in the q-division, then if x is log_2 of our approximation for the fifth, we want p/q to be a semiconvergent of x. Now, if memory serves, if |x - p/q| < 1/q^2 then p/q is a semiconvergent for x, and the converse is "almost" true. The details don't much matter, unless you wanted to write this up for publication, because it is clear that if x is anything in a certain interval around p/q, then p/q will be a semiconvergent for it. If p/q is a good enough approximation for log_2(3/2), say one that satisfies |log_2(3/2) - p/q| < 1/(2*q^2), then anything close to log_2(3/2) will be close enough to p/q so that p/q must be a semiconvergent for it. Since the approximation x ought to be better than that given by p/q, we would expect to find (and will find, if we wrote this up with the details worked out as if for publication) that it gives a MOS.
top of page bottom of page up down Message: 4403 Date: Thu, 23 Aug 2001 18:30:16 Subject: Re: Generators and unison vectors From: Paul Erlich --- In tuning-math@y..., graham@m... wrote: > In-Reply-To: <9m12f6+qhkq@e...> > Paul wrote: > > > > You can't define the 5:4 approximation by adding octaves and > > twelfths. > > > > Why not? We've been doing so all along. The 5:4 approximation is four > > twelfths minus six octaves. > > Do you remember, back when you were at school, a distinction being made > between "adding" and "subtracting"? Ha ha. I thought we weren't scared of negative numbers anymore. > > > > Probably it'd be better written as > > > > > > v v v v v v v v v v v v p > > > > > > where v is a fifth and p is a Pythagorean comma. That means p is > > the > > > (chromatic) unison vector. That leaves v as "the thing you have > > left when > > > you take out all the unison vectors". That's what we need a name > > for. > > > > The generator? > > Yes, isn't that where I started? In octave-specific terms, when you take > out 25:24 and 81:80 you're left with a generator equivalent to 16:15. In > octave-invariant terms, when you take out 81:80 you're left with a > generator of a fifth. In octave-specific terms, when you take out only > 81:80 you have a choice of generators. They could be 2:1 and 3:2 or 16:15 > and 25:24. Taking 2:1 and 25:24 as a pair is different, because the > generators and unison vectors don't form a unitary matrix. So perhaps > that's why we call one an "interval of equivalence" and the other a > "chromatic unison vector". You lost me. Gene, can you shed any light?
top of page bottom of page up down Message: 4404 Date: Thu, 23 Aug 2001 18:34:44 Subject: Re: EDO consistency and accuracy tables (was: A little research...) From: Paul Erlich --- In tuning-math@y..., BobWendell@t... wrote: > Thanks, Dave! However, the link you gave below doesn't seem to work > for me. It says no connection with the server could be established. > > Yahoo groups: /tuning-math/files/EDO consistency% * > 20and%20accuracy/ > > > Cheers, > > Bob Just click on _Files_, then on _EDO consistency and accuracy_.
top of page bottom of page up down Message: 4405 Date: Thu, 23 Aug 2001 18:38:01 Subject: Re: EDO consistency and accuracy tables (was: A little research...) From: Paul Erlich --- In tuning-math@y..., BobWendell@t... wrote: > Never mind, Dave! Just got there through the menu (duh!). there are > no column labels. I inferred from the structure that the consisitency > tables showed levels of consistency through successive odd limits? Right. > Apparently the accuracy table only shows the accuracy for the > intervals that are consistent in that temperament? Right. > > Also what does the number for consistency levels mean? A consistency "level" of N, for N > 1.5, simply means that the largest error is 1/2N steps of the ET. Paul Hahn had something else in mind but this is the way I think of it, since it's mathematically equivalent.
top of page bottom of page up down Message: 4406 Date: Thu, 23 Aug 2001 19:34:17 Subject: Re: Now I think "the hypothesis" is true :) From: genewardsmith@xxxx.xxx --- In tuning-math@y..., "Paul Erlich" <paul@s...> wrote: > Lost me there. Did you see my "proof" of the hypothesis? No--where is it hiding?
top of page bottom of page up down Message: 4407 Date: Thu, 23 Aug 2001 20:04:31 Subject: Re: Now I think "the hypothesis" is true :) From: Paul Erlich --- In tuning-math@y..., genewardsmith@j... wrote: > --- In tuning-math@y..., "Paul Erlich" <paul@s...> wrote: > > > Lost me there. Did you see my "proof" of the hypothesis? > > No--where is it hiding? Gene, I'm getting the feeling that somehow you're missing a good number of my posts. Like the chromatic vs. commatic unison vector deal . . . I explained that quite a number of times before you seemed to acknowledge it. Anyway, as I tried to tell you before, my sketch of a proof is in message #591.
top of page bottom of page up down Message: 4408 Date: Thu, 23 Aug 2001 20:06:01 Subject: Re: EDO consistency and accuracy tables (was: A little research...) From: Paul Erlich I wrote, > A consistency "level" of N, for N > 1.5, simply means that the > largest error is 1/2N steps of the ET. Should be "the largest error is _less than_ 1/2N steps of the ET".
top of page bottom of page up down Message: 4410 Date: Thu, 23 Aug 2001 21:18:22 Subject: Re: EDO consistency and accuracy tables (was: A little research...) From: Paul Erlich --- In tuning-math@y..., BobWendell@t... wrote: > So 111-EDO (3*37 divisions) looks like it wins hands down on both > consistency and accuracy? Well sort of . . . but consider that 120-tET _can't_ have more than a 5 cent error for _anything_ (since it's increments of 10 cents). So one would have hoped for a "special" tuning with much fewer than 120 notes to satisfy your criteria. Unfortunately there isn't one. > > By the way, 72-EDO does indeed look compelling, but 13/8 (50 steps) > is flat by 7.2 cents, so it doesn't meet the criteria I specified. > Considering its other merits and the high order prime 13, I suppose > 7.2 cents ain't half bad! Right . . . but I think the whole idea of 72 or 111 or 121 as a least- common-denominator way of describing ideal musical practice kind of falters when _adaptive JI_ comes into the picture . . . doesn't it?
top of page bottom of page up down Message: 4411 Date: Thu, 23 Aug 2001 21:36:56 Subject: Re: Now I think "the hypothesis" is true :) From: genewardsmith@xxxx.xxx --- In tuning-math@y..., "Paul Erlich" <paul@s...> wrote: > Gene, I'm getting the feeling that somehow you're missing a good > number of my posts. Like the chromatic vs. commatic unison vector > deal . . . I explained that quite a number of times before you seemed > to acknowledge it. Sorry about that. I did read that message before, but that was in an attempt to understand definitions--what is a MOS, hyper-MOS, PB, unison vector and so forth. The definitions are gradually becoming clear, so these things began to make sense to me. You were discussing the two-scale-step condition, which made it sound to me as if the whole business was defined in terms of large and small steps, without reference to tuning. I like the semiconvergents at this point!
top of page bottom of page up down Message: 4412 Date: Thu, 23 Aug 2001 21:50:03 Subject: Re: Now I think "the hypothesis" is true :) From: Paul Erlich --- In tuning-math@y..., genewardsmith@j... wrote: > You were discussing the two-scale-step condition, which made it sound > to me as if the whole business was defined in terms of large and > small steps, without reference to tuning. I like the semiconvergents > at this point! In my proof, I actually get at _two different_ (but mathematically equivalent) definitions of MOS. One concerns not a "two-scale-step" condition, as you say, but rather a "Myhill" condition, which says that every generic interval, not just steps but _any_ interval, aside from the interval of repetition, will come in exactly two step sizes. But the other definition of MOS I was trying to get at in my proof is, I believe, the "semiconvergent" one. I'm talking about vectors which have length M/N in the direction of the period boundaries. This is clearly very closely related (much more so than the Myhill stuff) to the continued fraction approximation process. Do you see that? Anyway, if you're beginning to think the hypothesis is true, then for any set of n-1 (or n-2, if we're counting your way) commatic unison vectors, you should be able to find the generator of the resulting linear temperament. Do you see a direct mathematical way of determining what this generator is?
top of page bottom of page up down Message: 4413 Date: Thu, 23 Aug 2001 21:56:51 Subject: Re: Now I think "the hypothesis" is true :) From: Paul Erlich I wrote, > > In my proof, I actually get at _two different_ (but mathematically > equivalent) definitions of MOS. One concerns not a "two-scale-step" > condition, as you say, but rather a "Myhill" condition, which says > that every generic interval, not just steps but _any_ interval, aside > from the interval of repetition, will come in exactly two step sizes. Ack! You got me doing it! I meant _two sizes_ at the end there, scratch the word "step"!
top of page bottom of page up down Message: 4415 Date: Thu, 23 Aug 2001 22:17:25 Subject: Re: Now I think "the hypothesis" is true :) From: genewardsmith@xxxx.xxx --- In tuning-math@y..., "Paul Erlich" <paul@s...> wrote: One concerns not a "two-scale-step" > > condition, as you say, but rather a "Myhill" condition, which says > > that every generic interval, not just steps but _any_ interval, > aside > > from the interval of repetition, will come in exactly two step > sizes. > Ack! You got me doing it! I meant _two sizes_ at the end there, > scratch the word "step"! Let's see if I can phrase this purely in terms of steps, without reference to sizes: Let S be a sequence consisting of steps of sizes L and s, which is periodic with period P. Every set of N contiguous steps will consist of p L's and q s's, such that p+q = N. Then the Myhill' condition says that exactly two counts of L's, p1 and p2, occur for every N. (Hence of course only two counts of s's, so that we have p1+q1 = N and p2+q2 = N.) Is the Myhill' condition the same as the Myhill condition?
top of page bottom of page up down Message: 4416 Date: Thu, 23 Aug 2001 23:36:04 Subject: Re: EDO consistency and accuracy tables (was: A little research...) From: Paul Erlich --- In tuning-math@y..., BobWendell@t... wrote: > > I don't have the experience with these tunings in practice to address > that, Paul. Not by a long shot (how about zero?) As far as a daptive > JI, you may be right. (How would I know?) Well clearly you understand the Vicentino adaptive JI scheme, based on two 1/4-comma meantone chains. Since 53-tET is a "scale of commas", you would need 53*4=212-tET to implement this scheme. See? > But I was looking at it as > more of a potential compositional tool for microtonal polyphony. If you don't care about melody or "necessarily tempered chords" (such as CEGAD) and only care about just-style harmony, then sure, that's great thinking. Looking forward to hearing some harmonically-oriented 111-tET music!
top of page bottom of page up down Message: 4417 Date: Thu, 23 Aug 2001 23:39:46 Subject: Re: Now I think "the hypothesis" is true :) From: Paul Erlich --- In tuning-math@y..., genewardsmith@j... wrote: > --- In tuning-math@y..., "Paul Erlich" <paul@s...> wrote: > > One concerns not a "two-scale-step" > > > condition, as you say, but rather a "Myhill" condition, which > says > > > that every generic interval, not just steps but _any_ interval, > > aside > > > from the interval of repetition, will come in exactly two step > > sizes. > > > Ack! You got me doing it! I meant _two sizes_ at the end there, > > scratch the word "step"! > > Let's see if I can phrase this purely in terms of steps, without > reference to sizes: > > Let S be a sequence consisting of steps of sizes L and s, which is > periodic with period P. Every set of N contiguous steps will consist > of p L's and q s's, such that p+q = N. Then the Myhill' condition > says that exactly two counts of L's, p1 and p2, occur for every N. > (Hence of course only two counts of s's, so that we have p1+q1 = N > and p2+q2 = N.) Seems correct. > > Is the Myhill' condition the same as the Myhill condition? Almost. The difference is that there may be an interval of repetition, which is exactly a factor of the number of steps per interval of equivalence, for which there may be only one count of L's. For example, for the scale LssssLssss, if N=5, then p1 always equals 1 and p2 always equals 4.
top of page bottom of page up down Message: 4418 Date: Fri, 24 Aug 2001 01:31:25 Subject: Re: Now I think "the hypothesis" is true :) From: Dave Keenan --- In tuning-math@y..., "Paul Erlich" <paul@s...> wrote: > --- In tuning-math@y..., genewardsmith@j... wrote: > > --- In tuning-math@y..., "Dave Keenan" <D.KEENAN@U...> wrote: > > > > > What makes the apparent relationship between MOS and > > > tempered periodicity blocks hard to fathom ... > > > > Well, tastes differ. I certainly hope your definition is correct, > > It's almost correct. There can be an interval of repetition which is > 1/P of the interval of equivalence, with P an integer. Huh? I included that. I used "i" where you've used "P" and be careful because I used "P" to mean something else, i.e. the interval of repetition (for which "period" is a shorter word) as a frequency ratio p = log(P). And i is not just any integer, it's a whole-number (not zero, not negative). -- Dave Keenan
top of page bottom of page up down Message: 4419 Date: Fri, 24 Aug 2001 10:51:47 Subject: Half-octave equivalence (was: Chromatic = commatic?) From: Graham Breed Paul wrote: > > The left hand column defines the generator mapping, which we can > write as > > [ 1] > > -2*[-2] > > [-2] > > > > The minus sign isn't important. The 2 tells us the new interval of > > equivalence is half the old one. > > That's your interpretation. But it isn't correct! We have 10 > equivalence classes in this group, and this half-octave takes you > from one equivalence class to another -- not to the same one. We have 10 notes in the periodicity block, but only 5 equivalence classes. We also have a 24 note periodicity block with only 12 equivalence classes. Or would you prefer to inflate the equivalence interval to 2 octaves in that case? Here, it's simple to redefine the unison vectors to give a 5 note periodicity block with half- octave equivalence: [-1 2 0] [ 0 1 -1] [-2 0 -1] Which means, for my interpretation to be correct, we do need to define "small" for unison vectors. > gives us the mapping by the generator modulo this new interval of > > equivalence. 16:15 is [-1 -1 0] times > > > > [ 1] > > [-2] > > [-2] > > > > or 1 generator. 3:2 is [1 0 0] or 1 generator. Where does the > algebra > > tell us these two intervals are not equivalent? > > Where does it tell us they are? Yes, they're _both_ generators. > Because of the symmetry, there is more than one possible generator. > Think of a prime-numbered ET -- how many generators does that have? Any ET has one generator. Although in octave equivalent terms it has none, because all notes are equivalent. "Octave equivalence" means the octave is considered equivalent to a unison. How can a unison be divided into equal steps? An octave equivalent linear temperament also has one generator. If two different intervals span the same number of generators, they are equivalent in that temperament. That's the case here with the approximations to 3:2 and 16:15. Graham
top of page bottom of page up down Message: 4420 Date: Fri, 24 Aug 2001 01:51:45 Subject: Re: Tetrachordal alterations From: Dave Keenan --- In tuning-math@y..., "Paul Erlich" <paul@s...> wrote: > --- In tuning-math@y..., "Dave Keenan" <D.KEENAN@U...> wrote: > > Hmm. So in the case where the disjunction consists of a single > step, > > you insist that that step (always an approx 8:9) appears in the > > tetrachords, before calling a scale tetrachordal? > > Right. Does John Chalmers agree with this?
top of page bottom of page up down Message: 4422 Date: Fri, 24 Aug 2001 02:30:41 Subject: Re: Now I think "the hypothesis" is true :) From: Dave Keenan --- In tuning-math@y..., genewardsmith@j... wrote: > --- In tuning-math@y..., "Dave Keenan" <D.KEENAN@U...> wrote: > > > What makes the apparent relationship between MOS and > > tempered periodicity blocks hard to fathom ... It's not so hard as I first thought. In MOS we are dealing with the log of the generator over the log of the period. In PB's we are dealing with vectors of logs (except they are all logs to different prime bases). > Well, tastes differ. I certainly hope your definition is correct, > because: ... > (3) It explains why Paul's hypothesis is true. > > For the last, ... Gene, you seem to be only proving (or making plausible) that cardinality of MOS = denominator of convergent or semiconvergent. While it's nice to have you confirm it, I believe Carey and Clampitt proved this in 1989 and we have accepted it. This is not Paul's hypothesis (or should it be called conjecture, I thought hypotheses were for science, not math?). -- Dave Keenan
top of page bottom of page up down Message: 4423 Date: Fri, 24 Aug 2001 19:14:04 Subject: Re: Jacks From: Paul Erlich --- In tuning-math@y..., genewardsmith@j... wrote: > --- In tuning-math@y..., "Paul Erlich" <paul@s...> wrote: > > > The q1+q2 rule leads not to a Farey sequence, but to what we've > > called a "Mann" sequence. For the Farey sequence, the rule is > > > > reduced form and q1 <= n and q2 <=n. > > > > See Hardy and Wright, for example. > > I just saw Hardy and Wright, and they say F_5, the fifth Farey > sequence, is just what I said it would be. Hmm . . . isn't it 0 1 1 1 2 1 3 2 3 4 1 -, -, -, -, -, -, -, -, -, -, - ? 1 5 4 3 5 2 5 3 4 5 1 This is commonly known as the "Farey series of order 5" -- I thought I remembered seeing it in Hardy and Wright this way -- is it a "series" vs. "sequence" thing? Anyhow, it seems that the "determinant" of two consecutive fractions being equal to one is a property of many differently-defined series -- for example, a product limit on numerator times denominator, or a layer of the Stern-Brocot tree . . . > I defined it interatively, > as for instance Niven and Zuckerman do, and Hardy and Wright define > it directly, but either way it comes out the same. Maybe I misunderstood your iterative definition -- does my rule correspond to Hardy and Wright's direct derivation? > This is a > completely standard definition in elementary number theory, but I'm > afraid I don't know what a Mann sequence is--from the way you refer > to it, it seems it is not a standard definition. No, Mann wrote a book called _Analytic Study of Harmonic Intervals_ or something like that. > > > Anyhow, the rest looks very interesting . . . what post was it > > inspired by . . . and how does it relate to tuning? > > It was inspired by something you posted saying the Blackjack was > derived from 36/35 (a high jack) and 81/80, 225/224, and 2401/2400 > (jumping jacks.) 81/80 shouldn't be there. > This suggests how to find something similar; I > thought I would write up an explanation for why certain > superparticular intervals keep popping up in music theory. I'll have to look at it more closely . . . I posted my own explanation for that recently, in a discussion with Monz . . .
top of page bottom of page up down Message: 4424 Date: Fri, 24 Aug 2001 04:38:40 Subject: Re: Tetrachordal alterations From: Paul Erlich --- In tuning-math@y..., "Dave Keenan" <D.KEENAN@U...> wrote: > --- In tuning-math@y..., "Paul Erlich" <paul@s...> wrote: > > --- In tuning-math@y..., "Dave Keenan" <D.KEENAN@U...> wrote: > > > Hmm. So in the case where the disjunction consists of a single > > step, > > > you insist that that step (always an approx 8:9) appears in the > > > tetrachords, before calling a scale tetrachordal? > > > > Right. > > Does John Chalmers agree with this? Oops! OK, let's call his "tetrachordal" and mine "strongly tetrachordal" or something.
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