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  <page>
    <title>12 EDO</title>
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      <text bytes="763" sha1="02q8h5o9dj9ily8mdp5wcjth51lxkyl" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;12 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/12), conocido como la Duodecafonía Temperada. Teniendo un actual sobreabasto musical y una sobreseída estimación e imposición de esta misma, es la cual de que esta página de xenarmonía se hace presente para denotar más amplio espectro de la musicalidad, advertir de la inminente atrofia de la creatividad musical por estar constantemente rodeado de duodecafonía y de expandir sus mentes a experiencias armónicas poco tomadas en cuenta.&lt;/span&gt;

Ver [http://es.wikipedia.org/wiki/Temperamento_igual Temperamento Igualado]</text>
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      <comment>**Imported revision 382669386 - Original comment: **</comment>
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      <text bytes="3104" sha1="9cy36voqzjq1mihg3dbv596n715jh1h" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 01:14:13 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382669386&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;12 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/12), conocido como la Duodecafonía Temperada. Teniendo un actual sobreabasto musical y una sobreseída estimación e imposición de esta misma, es la cual de que esta página de xenarmonía se hace presente para denotar más amplio espectro de la musicalidad, advertir de la inminente atrofia de la creatividad musical por estar constantemente rodeado de duodecafonía y de expandir sus mentes a experiencias armónicas poco tomadas en cuenta.&amp;lt;/span&amp;gt;

Ver [[http://es.wikipedia.org/wiki/Temperamento_igual|Temperamento Igualado]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/12), conocido como la Duodecafonía Temperada. Teniendo un actual sobreabasto musical y una sobreseída estimación e imposición de esta misma, es la cual de que esta página de xenarmonía se hace presente para denotar más amplio espectro de la musicalidad, advertir de la inminente atrofia de la creatividad musical por estar constantemente rodeado de duodecafonía y de expandir sus mentes a experiencias armónicas poco tomadas en cuenta.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Ver &amp;lt;a class="wiki_link_ext" href="http://es.wikipedia.org/wiki/Temperamento_igual" rel="nofollow"&amp;gt;Temperamento Igualado&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 255883468 - Original comment: **</comment>
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      <text bytes="1442" sha1="ee174fosgjkdi6wtpizl0g213yi7oku" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 20:51:02 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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      <comment>**Imported revision 254794970 - Original comment: **</comment>
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      <text bytes="1430" sha1="bd7zb3sqw32yffwn32g0nyzxid4hzkn" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:32:44 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254794970&lt;/tt&gt;.&lt;br&gt;
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The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;ver [[http://es.wikipedia.org/wiki/Temperamento_igual|temperamento igual]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;12 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;ver &amp;lt;a class="wiki_link_ext" href="http://es.wikipedia.org/wiki/Temperamento_igual" rel="nofollow"&amp;gt;temperamento igual&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 254790498 - Original comment: **</comment>
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      <text bytes="1227" sha1="3sn2j9egp466nuj5zlz7wjds5fum2zg" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:22:14 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
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&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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        <id>6</id>
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      <comment>+typo, +interwiki</comment>
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      <text bytes="737" sha1="mod56o2y8bncei88bqnovl9dmwp8caz" xml:space="preserve">'''12 Equitativas Divisiones por Octava'''

Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/12), conocido como la Duodecafonía Temperada. Teniendo un actual sobreabasto musical y una sobreseída estimación e imposición de esta misma, es la cual de que esta página de xenarmonía se hace presente para denotar más amplio espectro de la musicalidad, advertir de la inminente atrofia de la creatividad musical por estar constantemente rodeado de duodecafonía y de expandir sus mentes a experiencias armónicas poco tomadas en cuenta.

Ver [http://es.wikipedia.org/wiki/Temperamento_igual Temperamento Igualado]

[[Categoría:Edo]]

&lt;!-- interwiki --&gt;
[[de:12edo]]
[[en:12edo]]</text>
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      <comment>replaced interwiki solution</comment>
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      <text bytes="765" sha1="082komm70objkkpyukfu96tpn0gxfri" xml:space="preserve">{{interwiki
| de = 12edo
| en = 12edo
| es = 12 EDO
| ja = 12平均律
}}
'''12 Equitativas Divisiones por Octava'''

Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/12), conocido como la Duodecafonía Temperada. Teniendo un actual sobreabasto musical y una sobreseída estimación e imposición de esta misma, es la cual de que esta página de xenarmonía se hace presente para denotar más amplio espectro de la musicalidad, advertir de la inminente atrofia de la creatividad musical por estar constantemente rodeado de duodecafonía y de expandir sus mentes a experiencias armónicas poco tomadas en cuenta.

Ver [http://es.wikipedia.org/wiki/Temperamento_igual Temperamento Igualado]

[[Categoría:Edo]]</text>
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  <page>
    <title>16 EDO</title>
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      <text bytes="1418" sha1="l5d90m8ccglh805zdpe60douvefzjru" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;16 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/16).&lt;/span&gt;

Este sistema es conocido como el sistema [http://www.armodue.com/ Armodue] Esadecafonia (Hexadecafonía), el cual emplea para su notación musical el uso de una escala conformada por un patrón de 7 intervalos largos y 2 intervalos cortos conocido como la Escala Superdiatónica ó Mávila-9, o sea, el esquema LLLcLLLLc, esquema utilitario además para los sistemas de 23, 25 EDOs (ambos 1/3 de tono), 39, 41 EDOs (ambos 1/5 de tono), 55, 57 EDOs (ambos 1/7 de tono), 71, 73 EDOs (ambos 1/9 de tono) 85, 87, 89 y 91 EDOs (los cuatro como 1/11 de tono). Alternativamente este esquema es empleado también a los sistemas de 32 EDO (Quartertonos), 48 EDO (Sextotonos), 62, 64 y 66 EDOs (Octavos de tono). Tómese en cuenta de que el tono aquí referido es al tono validado en el intervalo largo del esquema LLLcLLLLc, la Escala Superdiatónica, compendida entre los 144 y 156,522 Cents. En la Hexadecafonía, este tono mide 150 Cents y su semitono mide 75 Cents.

[[File:Armodue_Neck.PNG|alt=Armodue Neck.PNG|800x159px|Armodue Neck.PNG]]

Mástil con el Sistema de Armodue. Los puntitos señalan la extrapolación de la escala superdiatónica ó mávila-9 a 3-2-2-2-2-2-3.</text>
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        <id>0</id>
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      <comment>**Imported revision 382678304 - Original comment: **</comment>
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      <text bytes="4824" sha1="f3lrn5pa0bb48a3gj2f1tq3fmfk3ft4" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 02:03:28 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382678304&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;16 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/16).&amp;lt;/span&amp;gt;
Este sistema es conocido como el sistema [[http://www.armodue.com/|Armodue]] Esadecafonia (Hexadecafonía), el cual emplea para su notación musical el uso de una escala conformada por un patrón de 7 intervalos largos y 2 intervalos cortos conocido como la Escala Superdiatónica ó Mávila-9, o sea, el esquema LLLcLLLLc, esquema utilitario además para los sistemas de 23, 25 EDOs (ambos 1/3 de tono), 39, 41 EDOs (ambos 1/5 de tono), 55, 57 EDOs (ambos 1/7 de tono), 71, 73 EDOs (ambos 1/9 de tono) 85, 87, 89 y 91 EDOs (los cuatro como 1/11 de tono). Alternativamente este esquema es empleado también a los sistemas de 32 EDO (Quartertonos), 48 EDO (Sextotonos), 62, 64 y 66 EDOs (Octavos de tono). Tómese en cuenta de que el tono aquí referido es al tono validado en el intervalo largo del esquema LLLcLLLLc, la Escala Superdiatónica, compendida entre los 144 y 156,522 Cents. En la Hexadecafonía, este tono mide 150 Cents y su semitono mide 75 Cents.

[[image:Armodue Neck.PNG width="800" height="159"]]
Mástil con el Sistema de Armodue. Los puntitos señalan la extrapolación de la escala superdiatónica ó mávila-9 a 3-2-2-2-2-2-3.&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/16).&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
Este sistema es conocido como el sistema &amp;lt;a class="wiki_link_ext" href="http://www.armodue.com/" rel="nofollow"&amp;gt;Armodue&amp;lt;/a&amp;gt; Esadecafonia (Hexadecafonía), el cual emplea para su notación musical el uso de una escala conformada por un patrón de 7 intervalos largos y 2 intervalos cortos conocido como la Escala Superdiatónica ó Mávila-9, o sea, el esquema LLLcLLLLc, esquema utilitario además para los sistemas de 23, 25 EDOs (ambos 1/3 de tono), 39, 41 EDOs (ambos 1/5 de tono), 55, 57 EDOs (ambos 1/7 de tono), 71, 73 EDOs (ambos 1/9 de tono) 85, 87, 89 y 91 EDOs (los cuatro como 1/11 de tono). Alternativamente este esquema es empleado también a los sistemas de 32 EDO (Quartertonos), 48 EDO (Sextotonos), 62, 64 y 66 EDOs (Octavos de tono). Tómese en cuenta de que el tono aquí referido es al tono validado en el intervalo largo del esquema LLLcLLLLc, la Escala Superdiatónica, compendida entre los 144 y 156,522 Cents. En la Hexadecafonía, este tono mide 150 Cents y su semitono mide 75 Cents.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:2:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Armodue%20Neck.PNG/382677840/800x159/Armodue%20Neck.PNG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 159px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Armodue%20Neck.PNG/382677840/800x159/Armodue%20Neck.PNG" alt="Armodue Neck.PNG" title="Armodue Neck.PNG" style="height: 159px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:2 --&amp;gt;&amp;lt;br /&amp;gt;
Mástil con el Sistema de Armodue. Los puntitos señalan la extrapolación de la escala superdiatónica ó mávila-9 a 3-2-2-2-2-2-3.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 382670492 - Original comment: **</comment>
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      <text bytes="3980" sha1="7lteiey0lrxxfhpnuahynfa273noiuc" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 01:19:42 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;16 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/16).&amp;lt;/span&amp;gt;
Este sistema es conocido como el sistema [[http://www.armodue.com/|Armodue]] Esadecafonia (Hexadecafonía), el cual emplea para su notación musical el uso de una escala conformada por un patrón de 7 intervalos largos y 2 intervalos cortos conocido como la Escala Superdiatónica ó Mávila-9, o sea, el esquema LLLcLLLLc, esquema utilitario además para los sistemas de 23, 25 EDOs (ambos 1/3 de tono), 39, 41 EDOs (ambos 1/5 de tono), 55, 57 EDOs (ambos 1/7 de tono), 71, 73 EDOs (ambos 1/9 de tono) 85, 87, 89 y 91 EDOs (los cuatro como 1/11 de tono). Alternativamente este esquema es empleado también a los sistemas de 32 EDO (Quartertonos), 48 EDO (Sextotonos), 62, 64 y 66 EDOs (Octavos de tono). Tómese en cuenta de que el tono aquí referido es al tono validado en el intervalo largo del esquema LLLcLLLLc, la Escala Superdiatónica, compendida entre los 144 y 156,522 Cents. En la Hexadecafonía, este tono mide 150 Cents y su semitono mide 75 Cents.&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/16).&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
Este sistema es conocido como el sistema &amp;lt;a class="wiki_link_ext" href="http://www.armodue.com/" rel="nofollow"&amp;gt;Armodue&amp;lt;/a&amp;gt; Esadecafonia (Hexadecafonía), el cual emplea para su notación musical el uso de una escala conformada por un patrón de 7 intervalos largos y 2 intervalos cortos conocido como la Escala Superdiatónica ó Mávila-9, o sea, el esquema LLLcLLLLc, esquema utilitario además para los sistemas de 23, 25 EDOs (ambos 1/3 de tono), 39, 41 EDOs (ambos 1/5 de tono), 55, 57 EDOs (ambos 1/7 de tono), 71, 73 EDOs (ambos 1/9 de tono) 85, 87, 89 y 91 EDOs (los cuatro como 1/11 de tono). Alternativamente este esquema es empleado también a los sistemas de 32 EDO (Quartertonos), 48 EDO (Sextotonos), 62, 64 y 66 EDOs (Octavos de tono). Tómese en cuenta de que el tono aquí referido es al tono validado en el intervalo largo del esquema LLLcLLLLc, la Escala Superdiatónica, compendida entre los 144 y 156,522 Cents. En la Hexadecafonía, este tono mide 150 Cents y su semitono mide 75 Cents.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 382644414 - Original comment: **</comment>
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      <text bytes="3984" sha1="fi6otx1fl9xsk3n6e15iriavgz0e66j" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-14 23:21:08 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382644414&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;16 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/16).&amp;lt;/span&amp;gt;
Este sistema es conocido como el sistema [[http://www.armodue.com/|Armodue]] Esadecafonia (Hexadecafonía), el cual emplea para su notación musical el uso de una escala conformada por un patrón de 7 intervalos largos y 2 intervalos cortos conocido como la Escala Superdiatónica ó Mávila-9, o sea, el esquema LLLcLLLLc, esquema utilitario además para los sistemas de 23, 25 EDOs (ambos 1/3 de tono), 39, 41 EDOs (ambos 1/5 de tono), 55, 57 EDOs (ambos 1/7 de tono), 71, 73 EDOs (ambos 1/9 de tono) 85, 87, 89 y 91 EDOs (los cuatro como 1/11 de tono). Alternativamente este esquema es empleado también a los sistemas de 32 EDO (Quartertonos), 48 EDO (Sextotonos), 62, 64 y 66 EDOs (Octavos de tono). Tómese en cuenta de que el tono aquí referido es al tono validado en el intervalo largo del esquema LLLcLLLLc, la Escala Superdiatónica, compendida entre los 144 y 156,522 Cents. En la Hexadecafonía, este tono mide 150 Cents y su semitono mide 75 Cents.&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;16 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="x16 Equitativas Divisiones por Octava"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span style="background-color: #ffffff;"&amp;gt;16 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/16).&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
Este sistema es conocido como el sistema &amp;lt;a class="wiki_link_ext" href="http://www.armodue.com/" rel="nofollow"&amp;gt;Armodue&amp;lt;/a&amp;gt; Esadecafonia (Hexadecafonía), el cual emplea para su notación musical el uso de una escala conformada por un patrón de 7 intervalos largos y 2 intervalos cortos conocido como la Escala Superdiatónica ó Mávila-9, o sea, el esquema LLLcLLLLc, esquema utilitario además para los sistemas de 23, 25 EDOs (ambos 1/3 de tono), 39, 41 EDOs (ambos 1/5 de tono), 55, 57 EDOs (ambos 1/7 de tono), 71, 73 EDOs (ambos 1/9 de tono) 85, 87, 89 y 91 EDOs (los cuatro como 1/11 de tono). Alternativamente este esquema es empleado también a los sistemas de 32 EDO (Quartertonos), 48 EDO (Sextotonos), 62, 64 y 66 EDOs (Octavos de tono). Tómese en cuenta de que el tono aquí referido es al tono validado en el intervalo largo del esquema LLLcLLLLc, la Escala Superdiatónica, compendida entre los 144 y 156,522 Cents. En la Hexadecafonía, este tono mide 150 Cents y su semitono mide 75 Cents.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 255358294 - Original comment: **</comment>
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      <text bytes="1382" sha1="dvmyjw6ifs3vbximq8k8idx4mfgqrvt" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-18 17:38:15 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;Ver sistema [[http://www.armodue.com/|armodue]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;16 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;Ver sistema &amp;lt;a class="wiki_link_ext" href="http://www.armodue.com/" rel="nofollow"&amp;gt;armodue&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 255317156 - Original comment: **</comment>
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      <text bytes="1382" sha1="kybjbsmprowsreca8xk7t4l85qr73mm" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 14:39:19 UTC&lt;/tt&gt;.&lt;br&gt;
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: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;ver la sistema [[http://www.armodue.com/|armodue]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;16 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;ver la sistema &amp;lt;a class="wiki_link_ext" href="http://www.armodue.com/" rel="nofollow"&amp;gt;armodue&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>Categoría</comment>
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      <text bytes="1438" sha1="1z2qtfrdep4wha77a308d3ofdfo5mx0" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;16 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/16).&lt;/span&gt;

Este sistema es conocido como el sistema [http://www.armodue.com/ Armodue] Esadecafonia (Hexadecafonía), el cual emplea para su notación musical el uso de una escala conformada por un patrón de 7 intervalos largos y 2 intervalos cortos conocido como la Escala Superdiatónica ó Mávila-9, o sea, el esquema LLLcLLLLc, esquema utilitario además para los sistemas de 23, 25 EDOs (ambos 1/3 de tono), 39, 41 EDOs (ambos 1/5 de tono), 55, 57 EDOs (ambos 1/7 de tono), 71, 73 EDOs (ambos 1/9 de tono) 85, 87, 89 y 91 EDOs (los cuatro como 1/11 de tono). Alternativamente este esquema es empleado también a los sistemas de 32 EDO (Quartertonos), 48 EDO (Sextotonos), 62, 64 y 66 EDOs (Octavos de tono). Tómese en cuenta de que el tono aquí referido es al tono validado en el intervalo largo del esquema LLLcLLLLc, la Escala Superdiatónica, compendida entre los 144 y 156,522 Cents. En la Hexadecafonía, este tono mide 150 Cents y su semitono mide 75 Cents.

[[File:Armodue_Neck.PNG|alt=Armodue Neck.PNG|800x159px|Armodue Neck.PNG]]

Mástil con el Sistema de Armodue. Los puntitos señalan la extrapolación de la escala superdiatónica ó mávila-9 a 3-2-2-2-2-2-3.

[[Categoría:Edo]]</text>
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  <page>
    <title>17 EDO</title>
    <ns>0</ns>
    <id>4</id>
    <revision>
      <id>4</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
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      <text bytes="3111" sha1="5s9m1hv47c85ejetlkesfstyoohi7fb" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;17 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/17). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;1, o sea, la escala diatónica queda distribuída como 3_3_1_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, Db(B#), C#, D, Eb, D#(Fb), E, F, Gb(E#), G, Ab, G#, A, Bb, A#(Cb), B y C.&lt;/span&gt;

=='''Música'''==
&lt;ul&gt;&lt;li&gt;[http://www.youtube.com/watch?v=eM3cFodNHws&amp; Guitarra Heptadecafonica] - por Charles loli&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.akjmusic.com/audio/adagio_for_margo.mp3 Adagio for Margo] &lt;/span&gt;por [http://www.akjmusic.com/ Aaron Krister Johnson]&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://home.comcast.net/%7Eteamouse/Transformation.mp3 Transformation] &lt;/span&gt;por [http://home.comcast.net/%7Eteamouse/ Herman Miller]&lt;/li&gt;&lt;li&gt;[http://home.snafu.de/djwolf/PreludeIn17tet.pdf Prelude] por [[:en:Daniel_Wolf Daniel Wolf]]&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.emcollective.org/chris/items/17tet/17waltz.mp3 Waltz] &lt;/span&gt;por Christopher Bailey&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3 Lostfound] &lt;/span&gt;por Christopher Bailey&lt;/li&gt;&lt;li&gt;excerpt de &lt;span style=""&gt;[http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3 Balladei] &lt;/span&gt; (en 17, 29 and 12) por [http://music.columbia.edu/%7Echris/ Christopher Bailey], CD [http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;s=music&amp;qid=1184598550&amp;sr=1-19 aquí].&lt;/li&gt;&lt;li&gt;[http://www.georghajdu.de/heptadecatonic_drops.html Heptadecatonic Drops] por Georg Hajdu&lt;/li&gt;&lt;li&gt;[http://www.georghajdu.de/63.html?&amp;L=1%20 Klangmoraste] por Georg Hajdu&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.h-pi.com/mp3/17ET.mp3 Two-Part Invention in 17ET]&lt;/span&gt; por Aaron Andrew Hunt&lt;/li&gt;&lt;li&gt;[http://azuma-asobi.com/Music/ Overture to A Midsummer Night's Dream] por [http://azuma-asobi.com/ Rick McGowan]&lt;/li&gt;&lt;li&gt;[http://azuma-asobi.com/Music/ Fairy Lullaby from A Midsummer Night's Dream] por [http://azuma-asobi.com/ Rick McGowan]&lt;/li&gt;&lt;li&gt;[http://soundclick.com/share?songid=5967982 A Calamitous Simultaneity] por Iglashion Jones&lt;/li&gt;&lt;li&gt;Un amplio repertorio desde [http://www.archive.org/details/seventeenTPP_01 seventeen-tone piano project phase I], [[:en:SeventeenTPPPhaseTwo seventeen-tone piano project phase II]], [[:en:SeventeenTPPPhaseThree seventeen-tone piano project phase III]].&lt;/li&gt;&lt;li&gt;[http://www.archive.org/search.php?query=subject%3A%2217-edo%22 17edo] - 17edo-tagged compositions on www.archive.org&lt;/li&gt;&lt;li&gt;[http://www.microtonalismo.com/proyecto-xvii Charles Loli 17edo] Música para guitarra heptadecafónica (2001) y Armonía Inductiva Microtonal (1993)&lt;/li&gt;&lt;li&gt;[http://microtonalismo.com/ microtonalismo] Página peruana dedicada a la Heptadecafonía y la Icosinonafonía (29 EDO).&lt;/li&gt;&lt;/ul&gt;</text>
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    <revision>
      <id>37</id>
      <timestamp>2012-11-15T01:20:15Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 382670586 - Original comment: **</comment>
      <origin>37</origin>
      <model>wikitext</model>
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      <text bytes="10679" sha1="a4nv4d17tnsk36uo8xgnsqychksnwva" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 01:20:15 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382670586&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;17 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/17). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;1, o sea, la escala diatónica queda distribuída como 3_3_1_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, Db(B#), C#, D, Eb, D#(Fb), E, F, Gb(E#), G, Ab, G#, A, Bb, A#(Cb), B y C.&amp;lt;/span&amp;gt;

==**Música**== 
* [[http://www.youtube.com/watch?v=eM3cFodNHws&amp;amp;|Guitarra Heptadecafonica]] - por Charles loli
* &amp;lt;span class="ymp-btn-page-play ymp-media-3ece313d36e9307c749e0e3549ece422"&amp;gt;[[http://www.akjmusic.com/audio/adagio_for_margo.mp3|Adagio for Margo]] &amp;lt;/span&amp;gt;por [[http://www.akjmusic.com/|Aaron Krister Johnson]]
* &amp;lt;span class="ymp-btn-page-play ymp-media-cd2c0c4934993e036385ed158d0617c4"&amp;gt;[[http://home.comcast.net/%7Eteamouse/Transformation.mp3|Transformation]] &amp;lt;/span&amp;gt;por [[http://home.comcast.net/%7Eteamouse/|Herman Miller]]
* [[http://home.snafu.de/djwolf/PreludeIn17tet.pdf|Prelude]] por [[xenharmonic/Daniel Wolf|Daniel Wolf]]
* &amp;lt;span class="ymp-btn-page-play ymp-media-c31e19054d7ac007c7b9b339babdd228"&amp;gt;[[http://www.emcollective.org/chris/items/17tet/17waltz.mp3|Waltz]] &amp;lt;/span&amp;gt;por Christopher Bailey
* &amp;lt;span class="ymp-btn-page-play ymp-media-817b931db5b9d03733d0439eb4c5b365"&amp;gt;[[http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3|Lostfound]] &amp;lt;/span&amp;gt;por Christopher Bailey
* excerpt de &amp;lt;span class="ymp-btn-page-play ymp-media-2de29bc81b3c87ba3015583ebe32228c"&amp;gt;[[http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3|Balladei]] &amp;lt;/span&amp;gt; (en 17, 29 and 12) por [[http://music.columbia.edu/%7Echris/|Christopher Bailey]], CD [[http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;amp;s=music&amp;amp;qid=1184598550&amp;amp;sr=1-19|aquí]].
* [[http://www.georghajdu.de/heptadecatonic_drops.html|Heptadecatonic Drops]] por Georg Hajdu
* [[http://www.georghajdu.de/63.html?&amp;amp;L=1%20|Klangmoraste]] por Georg Hajdu
* &amp;lt;span class="ymp-btn-page-play ymp-media-60b300d674b6179dec2e49769bcd92d2"&amp;gt;[[http://www.h-pi.com/mp3/17ET.mp3|Two-Part Invention in 17ET]]&amp;lt;/span&amp;gt; por Aaron Andrew Hunt
* [[http://azuma-asobi.com/Music/|Overture to A Midsummer Night's Dream]] por [[http://azuma-asobi.com/|Rick McGowan]]
* [[http://azuma-asobi.com/Music/|Fairy Lullaby from A Midsummer Night's Dream]] por [[http://azuma-asobi.com/|Rick McGowan]]
* [[http://soundclick.com/share?songid=5967982|A Calamitous Simultaneity]] por Iglashion Jones
* Un amplio repertorio desde [[http://www.archive.org/details/seventeenTPP_01|seventeen-tone piano project phase I]], [[xenharmonic/SeventeenTPPPhaseTwo|seventeen-tone piano project phase II]], [[xenharmonic/SeventeenTPPPhaseThree|seventeen-tone piano project phase III]].
* [[http://www.archive.org/search.php?query=subject%3A%2217-edo%22|17edo]] - 17edo-tagged compositions on www.archive.org
* [[http://www.microtonalismo.com/proyecto-xvii|Charles Loli 17edo]] Música para guitarra heptadecafónica (2001) y Armonía Inductiva Microtonal (1993)
* [[http://microtonalismo.com/|microtonalismo]] Página peruana dedicada a la Heptadecafonía y la Icosinonafonía (29 EDO).&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;17 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="x17 Equitativas Divisiones por Octava"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span style="background-color: #ffffff;"&amp;gt;17 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/17). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;1, o sea, la escala diatónica queda distribuída como 3_3_1_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, Db(B#), C#, D, Eb, D#(Fb), E, F, Gb(E#), G, Ab, G#, A, Bb, A#(Cb), B y C.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc1"&amp;gt;&amp;lt;a name="x17 Equitativas Divisiones por Octava-Música"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;&amp;lt;strong&amp;gt;Música&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;ul&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.youtube.com/watch?v=eM3cFodNHws&amp;amp;amp;" rel="nofollow"&amp;gt;Guitarra Heptadecafonica&amp;lt;/a&amp;gt; - por Charles loli&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-3ece313d36e9307c749e0e3549ece422"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.akjmusic.com/audio/adagio_for_margo.mp3" rel="nofollow"&amp;gt;Adagio for Margo&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt;por &amp;lt;a class="wiki_link_ext" href="http://www.akjmusic.com/" rel="nofollow"&amp;gt;Aaron Krister Johnson&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-cd2c0c4934993e036385ed158d0617c4"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://home.comcast.net/%7Eteamouse/Transformation.mp3" rel="nofollow"&amp;gt;Transformation&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt;por &amp;lt;a class="wiki_link_ext" href="http://home.comcast.net/%7Eteamouse/" rel="nofollow"&amp;gt;Herman Miller&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://home.snafu.de/djwolf/PreludeIn17tet.pdf" rel="nofollow"&amp;gt;Prelude&amp;lt;/a&amp;gt; por &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/Daniel%20Wolf"&amp;gt;Daniel Wolf&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-c31e19054d7ac007c7b9b339babdd228"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.emcollective.org/chris/items/17tet/17waltz.mp3" rel="nofollow"&amp;gt;Waltz&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt;por Christopher Bailey&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-817b931db5b9d03733d0439eb4c5b365"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3" rel="nofollow"&amp;gt;Lostfound&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt;por Christopher Bailey&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;excerpt de &amp;lt;span class="ymp-btn-page-play ymp-media-2de29bc81b3c87ba3015583ebe32228c"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3" rel="nofollow"&amp;gt;Balladei&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt; (en 17, 29 and 12) por &amp;lt;a class="wiki_link_ext" href="http://music.columbia.edu/%7Echris/" rel="nofollow"&amp;gt;Christopher Bailey&amp;lt;/a&amp;gt;, CD &amp;lt;a class="wiki_link_ext" href="http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;amp;amp;s=music&amp;amp;amp;qid=1184598550&amp;amp;amp;sr=1-19" rel="nofollow"&amp;gt;aquí&amp;lt;/a&amp;gt;.&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.georghajdu.de/heptadecatonic_drops.html" rel="nofollow"&amp;gt;Heptadecatonic Drops&amp;lt;/a&amp;gt; por Georg Hajdu&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.georghajdu.de/63.html?&amp;amp;amp;L=1%20" rel="nofollow"&amp;gt;Klangmoraste&amp;lt;/a&amp;gt; por Georg Hajdu&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-60b300d674b6179dec2e49769bcd92d2"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.h-pi.com/mp3/17ET.mp3" rel="nofollow"&amp;gt;Two-Part Invention in 17ET&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; por Aaron Andrew Hunt&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/Music/" rel="nofollow"&amp;gt;Overture to A Midsummer Night's Dream&amp;lt;/a&amp;gt; por &amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/" rel="nofollow"&amp;gt;Rick McGowan&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/Music/" rel="nofollow"&amp;gt;Fairy Lullaby from A Midsummer Night's Dream&amp;lt;/a&amp;gt; por &amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/" rel="nofollow"&amp;gt;Rick McGowan&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://soundclick.com/share?songid=5967982" rel="nofollow"&amp;gt;A Calamitous Simultaneity&amp;lt;/a&amp;gt; por Iglashion Jones&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;Un amplio repertorio desde &amp;lt;a class="wiki_link_ext" href="http://www.archive.org/details/seventeenTPP_01" rel="nofollow"&amp;gt;seventeen-tone piano project phase I&amp;lt;/a&amp;gt;, &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/SeventeenTPPPhaseTwo"&amp;gt;seventeen-tone piano project phase II&amp;lt;/a&amp;gt;, &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/SeventeenTPPPhaseThree"&amp;gt;seventeen-tone piano project phase III&amp;lt;/a&amp;gt;.&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.archive.org/search.php?query=subject%3A%2217-edo%22" rel="nofollow"&amp;gt;17edo&amp;lt;/a&amp;gt; - 17edo-tagged compositions on www.archive.org&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com/proyecto-xvii" rel="nofollow"&amp;gt;Charles Loli 17edo&amp;lt;/a&amp;gt; Música para guitarra heptadecafónica (2001) y Armonía Inductiva Microtonal (1993)&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://microtonalismo.com/" rel="nofollow"&amp;gt;microtonalismo&amp;lt;/a&amp;gt; Página peruana dedicada a la Heptadecafonía y la Icosinonafonía (29 EDO).&amp;lt;/li&amp;gt;&amp;lt;/ul&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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    <revision>
      <id>38</id>
      <timestamp>2012-11-14T23:32:28Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 382647364 - Original comment: **</comment>
      <origin>38</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="10683" sha1="doinf6a3ura4mh8x3d2e05v6gzebrr4" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-14 23:32:28 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382647364&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;17 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/17). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;1, o sea, la escala diatónica queda distribuída como 3_3_1_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, Db(B#), C#, D, Eb, D#(Fb), E, F, Gb(E#), G, Ab, G#, A, Bb, A#(Cb), B y C.&amp;lt;/span&amp;gt;

==**Música**== 
* [[http://www.youtube.com/watch?v=eM3cFodNHws&amp;amp;|Guitarra Heptadecafonica]] - por Charles loli
* &amp;lt;span class="ymp-btn-page-play ymp-media-3ece313d36e9307c749e0e3549ece422"&amp;gt;[[http://www.akjmusic.com/audio/adagio_for_margo.mp3|Adagio for Margo]] &amp;lt;/span&amp;gt;por [[http://www.akjmusic.com/|Aaron Krister Johnson]]
* &amp;lt;span class="ymp-btn-page-play ymp-media-cd2c0c4934993e036385ed158d0617c4"&amp;gt;[[http://home.comcast.net/%7Eteamouse/Transformation.mp3|Transformation]] &amp;lt;/span&amp;gt;por [[http://home.comcast.net/%7Eteamouse/|Herman Miller]]
* [[http://home.snafu.de/djwolf/PreludeIn17tet.pdf|Prelude]] por [[xenharmonic/Daniel Wolf|Daniel Wolf]]
* &amp;lt;span class="ymp-btn-page-play ymp-media-c31e19054d7ac007c7b9b339babdd228"&amp;gt;[[http://www.emcollective.org/chris/items/17tet/17waltz.mp3|Waltz]] &amp;lt;/span&amp;gt;por Christopher Bailey
* &amp;lt;span class="ymp-btn-page-play ymp-media-817b931db5b9d03733d0439eb4c5b365"&amp;gt;[[http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3|Lostfound]] &amp;lt;/span&amp;gt;por Christopher Bailey
* excerpt de &amp;lt;span class="ymp-btn-page-play ymp-media-2de29bc81b3c87ba3015583ebe32228c"&amp;gt;[[http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3|Balladei]] &amp;lt;/span&amp;gt; (en 17, 29 and 12) por [[http://music.columbia.edu/%7Echris/|Christopher Bailey]], CD [[http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;amp;s=music&amp;amp;qid=1184598550&amp;amp;sr=1-19|aquí]].
* [[http://www.georghajdu.de/heptadecatonic_drops.html|Heptadecatonic Drops]] por Georg Hajdu
* [[http://www.georghajdu.de/63.html?&amp;amp;L=1%20|Klangmoraste]] por Georg Hajdu
* &amp;lt;span class="ymp-btn-page-play ymp-media-60b300d674b6179dec2e49769bcd92d2"&amp;gt;[[http://www.h-pi.com/mp3/17ET.mp3|Two-Part Invention in 17ET]]&amp;lt;/span&amp;gt; por Aaron Andrew Hunt
* [[http://azuma-asobi.com/Music/|Overture to A Midsummer Night's Dream]] por [[http://azuma-asobi.com/|Rick McGowan]]
* [[http://azuma-asobi.com/Music/|Fairy Lullaby from A Midsummer Night's Dream]] por [[http://azuma-asobi.com/|Rick McGowan]]
* [[http://soundclick.com/share?songid=5967982|A Calamitous Simultaneity]] por Iglashion Jones
* Un amplio repertorio desde [[http://www.archive.org/details/seventeenTPP_01|seventeen-tone piano project phase I]], [[xenharmonic/SeventeenTPPPhaseTwo|seventeen-tone piano project phase II]], [[xenharmonic/SeventeenTPPPhaseThree|seventeen-tone piano project phase III]].
* [[http://www.archive.org/search.php?query=subject%3A%2217-edo%22|17edo]] - 17edo-tagged compositions on www.archive.org
* [[http://www.microtonalismo.com/proyecto-xvii|Charles Loli 17edo]] Música para guitarra heptadecafónica (2001) y Armonía Inductiva Microtonal (1993)
* [[http://microtonalismo.com/|microtonalismo]] Página peruana dedicada a la Heptadecafonía y la Icosinonafonía (29 EDO).&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;17 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="x17 Equitativas Divisiones por Octava"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span style="background-color: #ffffff;"&amp;gt;17 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/17). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;1, o sea, la escala diatónica queda distribuída como 3_3_1_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, Db(B#), C#, D, Eb, D#(Fb), E, F, Gb(E#), G, Ab, G#, A, Bb, A#(Cb), B y C.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc1"&amp;gt;&amp;lt;a name="x17 Equitativas Divisiones por Octava-Música"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;&amp;lt;strong&amp;gt;Música&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;ul&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.youtube.com/watch?v=eM3cFodNHws&amp;amp;amp;" rel="nofollow"&amp;gt;Guitarra Heptadecafonica&amp;lt;/a&amp;gt; - por Charles loli&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-3ece313d36e9307c749e0e3549ece422"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.akjmusic.com/audio/adagio_for_margo.mp3" rel="nofollow"&amp;gt;Adagio for Margo&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt;por &amp;lt;a class="wiki_link_ext" href="http://www.akjmusic.com/" rel="nofollow"&amp;gt;Aaron Krister Johnson&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-cd2c0c4934993e036385ed158d0617c4"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://home.comcast.net/%7Eteamouse/Transformation.mp3" rel="nofollow"&amp;gt;Transformation&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt;por &amp;lt;a class="wiki_link_ext" href="http://home.comcast.net/%7Eteamouse/" rel="nofollow"&amp;gt;Herman Miller&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://home.snafu.de/djwolf/PreludeIn17tet.pdf" rel="nofollow"&amp;gt;Prelude&amp;lt;/a&amp;gt; por &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/Daniel%20Wolf"&amp;gt;Daniel Wolf&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-c31e19054d7ac007c7b9b339babdd228"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.emcollective.org/chris/items/17tet/17waltz.mp3" rel="nofollow"&amp;gt;Waltz&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt;por Christopher Bailey&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-817b931db5b9d03733d0439eb4c5b365"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3" rel="nofollow"&amp;gt;Lostfound&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt;por Christopher Bailey&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;excerpt de &amp;lt;span class="ymp-btn-page-play ymp-media-2de29bc81b3c87ba3015583ebe32228c"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3" rel="nofollow"&amp;gt;Balladei&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt; (en 17, 29 and 12) por &amp;lt;a class="wiki_link_ext" href="http://music.columbia.edu/%7Echris/" rel="nofollow"&amp;gt;Christopher Bailey&amp;lt;/a&amp;gt;, CD &amp;lt;a class="wiki_link_ext" href="http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;amp;amp;s=music&amp;amp;amp;qid=1184598550&amp;amp;amp;sr=1-19" rel="nofollow"&amp;gt;aquí&amp;lt;/a&amp;gt;.&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.georghajdu.de/heptadecatonic_drops.html" rel="nofollow"&amp;gt;Heptadecatonic Drops&amp;lt;/a&amp;gt; por Georg Hajdu&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.georghajdu.de/63.html?&amp;amp;amp;L=1%20" rel="nofollow"&amp;gt;Klangmoraste&amp;lt;/a&amp;gt; por Georg Hajdu&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-60b300d674b6179dec2e49769bcd92d2"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.h-pi.com/mp3/17ET.mp3" rel="nofollow"&amp;gt;Two-Part Invention in 17ET&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; por Aaron Andrew Hunt&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/Music/" rel="nofollow"&amp;gt;Overture to A Midsummer Night's Dream&amp;lt;/a&amp;gt; por &amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/" rel="nofollow"&amp;gt;Rick McGowan&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/Music/" rel="nofollow"&amp;gt;Fairy Lullaby from A Midsummer Night's Dream&amp;lt;/a&amp;gt; por &amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/" rel="nofollow"&amp;gt;Rick McGowan&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://soundclick.com/share?songid=5967982" rel="nofollow"&amp;gt;A Calamitous Simultaneity&amp;lt;/a&amp;gt; por Iglashion Jones&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;Un amplio repertorio desde &amp;lt;a class="wiki_link_ext" href="http://www.archive.org/details/seventeenTPP_01" rel="nofollow"&amp;gt;seventeen-tone piano project phase I&amp;lt;/a&amp;gt;, &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/SeventeenTPPPhaseTwo"&amp;gt;seventeen-tone piano project phase II&amp;lt;/a&amp;gt;, &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/SeventeenTPPPhaseThree"&amp;gt;seventeen-tone piano project phase III&amp;lt;/a&amp;gt;.&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.archive.org/search.php?query=subject%3A%2217-edo%22" rel="nofollow"&amp;gt;17edo&amp;lt;/a&amp;gt; - 17edo-tagged compositions on www.archive.org&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com/proyecto-xvii" rel="nofollow"&amp;gt;Charles Loli 17edo&amp;lt;/a&amp;gt; Música para guitarra heptadecafónica (2001) y Armonía Inductiva Microtonal (1993)&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://microtonalismo.com/" rel="nofollow"&amp;gt;microtonalismo&amp;lt;/a&amp;gt; Página peruana dedicada a la Heptadecafonía y la Icosinonafonía (29 EDO).&amp;lt;/li&amp;gt;&amp;lt;/ul&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>doinf6a3ura4mh8x3d2e05v6gzebrr4</sha1>
    </revision>
    <revision>
      <id>39</id>
      <timestamp>2011-09-20T10:37:35Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 256086120 - Original comment: **</comment>
      <origin>39</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="8949" sha1="i8fugds52mgdyiep9lab5iv705s6vgb" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 10:37:35 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;256086120&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;==**Música**== 
* [[http://www.youtube.com/watch?v=eM3cFodNHws&amp;amp;|Guitarra Heptadecafonica]] - por Charles loli
* &amp;lt;span class="ymp-btn-page-play ymp-media-3ece313d36e9307c749e0e3549ece422"&amp;gt;[[http://www.akjmusic.com/audio/adagio_for_margo.mp3|Adagio for Margo]] &amp;lt;/span&amp;gt;por [[http://www.akjmusic.com/|Aaron Krister Johnson]]
* &amp;lt;span class="ymp-btn-page-play ymp-media-cd2c0c4934993e036385ed158d0617c4"&amp;gt;[[http://home.comcast.net/%7Eteamouse/Transformation.mp3|Transformation]] &amp;lt;/span&amp;gt;por [[http://home.comcast.net/%7Eteamouse/|Herman Miller]]
* [[http://home.snafu.de/djwolf/PreludeIn17tet.pdf|Prelude]] por [[xenharmonic/Daniel Wolf|Daniel Wolf]]
* &amp;lt;span class="ymp-btn-page-play ymp-media-c31e19054d7ac007c7b9b339babdd228"&amp;gt;[[http://www.emcollective.org/chris/items/17tet/17waltz.mp3|Waltz]] &amp;lt;/span&amp;gt;por Christopher Bailey
* &amp;lt;span class="ymp-btn-page-play ymp-media-817b931db5b9d03733d0439eb4c5b365"&amp;gt;[[http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3|Lostfound]] &amp;lt;/span&amp;gt;por Christopher Bailey
* excerpt de &amp;lt;span class="ymp-btn-page-play ymp-media-2de29bc81b3c87ba3015583ebe32228c"&amp;gt;[[http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3|Balladei]] &amp;lt;/span&amp;gt; (en 17, 29 and 12) por [[http://music.columbia.edu/%7Echris/|Christopher Bailey]], CD [[http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;amp;s=music&amp;amp;qid=1184598550&amp;amp;sr=1-19|aquí]].
* [[http://www.georghajdu.de/heptadecatonic_drops.html|Heptadecatonic Drops]] por Georg Hajdu
* [[http://www.georghajdu.de/63.html?&amp;amp;L=1%20|Klangmoraste]] por Georg Hajdu
* &amp;lt;span class="ymp-btn-page-play ymp-media-60b300d674b6179dec2e49769bcd92d2"&amp;gt;[[http://www.h-pi.com/mp3/17ET.mp3|Two-Part Invention in 17ET]]&amp;lt;/span&amp;gt; por Aaron Andrew Hunt
* [[http://azuma-asobi.com/Music/|Overture to A Midsummer Night's Dream]] por [[http://azuma-asobi.com/|Rick McGowan]]
* [[http://azuma-asobi.com/Music/|Fairy Lullaby from A Midsummer Night's Dream]] por [[http://azuma-asobi.com/|Rick McGowan]]
* [[http://soundclick.com/share?songid=5967982|A Calamitous Simultaneity]] por Iglashion Jones
* A number of compositions from [[http://www.archive.org/details/seventeenTPP_01|seventeen-tone piano project phase I]], [[xenharmonic/SeventeenTPPPhaseTwo|seventeen-tone piano project phase II]], [[xenharmonic/SeventeenTPPPhaseThree|seventeen-tone piano project phase III]].
* [[http://www.archive.org/search.php?query=subject%3A%2217-edo%22|17edo]] - 17edo-tagged compositions on www.archive.org
* [[http://www.microtonalismo.com/proyecto-xvii|Charles Loli 17edo]] music for guitar heptadecatonic (2001) and armony inductive microtonaly (1993) -
* [[http://microtonalismo.com/|microtonalismo]] Heptadecatonic Peruvian&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;17 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Música"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;strong&amp;gt;Música&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;ul&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.youtube.com/watch?v=eM3cFodNHws&amp;amp;amp;" rel="nofollow"&amp;gt;Guitarra Heptadecafonica&amp;lt;/a&amp;gt; - por Charles loli&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-3ece313d36e9307c749e0e3549ece422"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.akjmusic.com/audio/adagio_for_margo.mp3" rel="nofollow"&amp;gt;Adagio for Margo&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt;por &amp;lt;a class="wiki_link_ext" href="http://www.akjmusic.com/" rel="nofollow"&amp;gt;Aaron Krister Johnson&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-cd2c0c4934993e036385ed158d0617c4"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://home.comcast.net/%7Eteamouse/Transformation.mp3" rel="nofollow"&amp;gt;Transformation&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt;por &amp;lt;a class="wiki_link_ext" href="http://home.comcast.net/%7Eteamouse/" rel="nofollow"&amp;gt;Herman Miller&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://home.snafu.de/djwolf/PreludeIn17tet.pdf" rel="nofollow"&amp;gt;Prelude&amp;lt;/a&amp;gt; por &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/Daniel%20Wolf"&amp;gt;Daniel Wolf&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-c31e19054d7ac007c7b9b339babdd228"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.emcollective.org/chris/items/17tet/17waltz.mp3" rel="nofollow"&amp;gt;Waltz&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt;por Christopher Bailey&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-817b931db5b9d03733d0439eb4c5b365"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3" rel="nofollow"&amp;gt;Lostfound&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt;por Christopher Bailey&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;excerpt de &amp;lt;span class="ymp-btn-page-play ymp-media-2de29bc81b3c87ba3015583ebe32228c"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3" rel="nofollow"&amp;gt;Balladei&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt; (en 17, 29 and 12) por &amp;lt;a class="wiki_link_ext" href="http://music.columbia.edu/%7Echris/" rel="nofollow"&amp;gt;Christopher Bailey&amp;lt;/a&amp;gt;, CD &amp;lt;a class="wiki_link_ext" href="http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;amp;amp;s=music&amp;amp;amp;qid=1184598550&amp;amp;amp;sr=1-19" rel="nofollow"&amp;gt;aquí&amp;lt;/a&amp;gt;.&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.georghajdu.de/heptadecatonic_drops.html" rel="nofollow"&amp;gt;Heptadecatonic Drops&amp;lt;/a&amp;gt; por Georg Hajdu&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.georghajdu.de/63.html?&amp;amp;amp;L=1%20" rel="nofollow"&amp;gt;Klangmoraste&amp;lt;/a&amp;gt; por Georg Hajdu&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-60b300d674b6179dec2e49769bcd92d2"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.h-pi.com/mp3/17ET.mp3" rel="nofollow"&amp;gt;Two-Part Invention in 17ET&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; por Aaron Andrew Hunt&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/Music/" rel="nofollow"&amp;gt;Overture to A Midsummer Night's Dream&amp;lt;/a&amp;gt; por &amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/" rel="nofollow"&amp;gt;Rick McGowan&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/Music/" rel="nofollow"&amp;gt;Fairy Lullaby from A Midsummer Night's Dream&amp;lt;/a&amp;gt; por &amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/" rel="nofollow"&amp;gt;Rick McGowan&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://soundclick.com/share?songid=5967982" rel="nofollow"&amp;gt;A Calamitous Simultaneity&amp;lt;/a&amp;gt; por Iglashion Jones&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;A number of compositions from &amp;lt;a class="wiki_link_ext" href="http://www.archive.org/details/seventeenTPP_01" rel="nofollow"&amp;gt;seventeen-tone piano project phase I&amp;lt;/a&amp;gt;, &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/SeventeenTPPPhaseTwo"&amp;gt;seventeen-tone piano project phase II&amp;lt;/a&amp;gt;, &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/SeventeenTPPPhaseThree"&amp;gt;seventeen-tone piano project phase III&amp;lt;/a&amp;gt;.&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.archive.org/search.php?query=subject%3A%2217-edo%22" rel="nofollow"&amp;gt;17edo&amp;lt;/a&amp;gt; - 17edo-tagged compositions on www.archive.org&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com/proyecto-xvii" rel="nofollow"&amp;gt;Charles Loli 17edo&amp;lt;/a&amp;gt; music for guitar heptadecatonic (2001) and armony inductive microtonaly (1993) -&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://microtonalismo.com/" rel="nofollow"&amp;gt;microtonalismo&amp;lt;/a&amp;gt; Heptadecatonic Peruvian&amp;lt;/li&amp;gt;&amp;lt;/ul&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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    <revision>
      <id>40</id>
      <timestamp>2011-09-16T12:43:24Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254798918 - Original comment: **</comment>
      <origin>40</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="8678" sha1="atht4tnwax743iujrr5wj117q3l8srg" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:43:24 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254798918&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;==**Música**== 
* &amp;lt;span class="ymp-btn-page-play ymp-media-3ece313d36e9307c749e0e3549ece422"&amp;gt;[[http://www.akjmusic.com/audio/adagio_for_margo.mp3|Adagio for Margo]] &amp;lt;/span&amp;gt; by [[http://www.akjmusic.com/|Aaron Krister Johnson]]
* &amp;lt;span class="ymp-btn-page-play ymp-media-cd2c0c4934993e036385ed158d0617c4"&amp;gt;[[http://home.comcast.net/%7Eteamouse/Transformation.mp3|Transformation]] &amp;lt;/span&amp;gt; by [[http://home.comcast.net/%7Eteamouse/|Herman Miller]]
* [[http://home.snafu.de/djwolf/PreludeIn17tet.pdf|Prelude]] by [[xenharmonic/Daniel Wolf|Daniel Wolf]]
* &amp;lt;span class="ymp-btn-page-play ymp-media-c31e19054d7ac007c7b9b339babdd228"&amp;gt;[[http://www.emcollective.org/chris/items/17tet/17waltz.mp3|Waltz]] &amp;lt;/span&amp;gt; by Christopher Bailey
* &amp;lt;span class="ymp-btn-page-play ymp-media-817b931db5b9d03733d0439eb4c5b365"&amp;gt;[[http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3|Lostfound]] &amp;lt;/span&amp;gt; by Christopher Bailey
* excerpt from &amp;lt;span class="ymp-btn-page-play ymp-media-2de29bc81b3c87ba3015583ebe32228c"&amp;gt;[[http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3|Balladei]] &amp;lt;/span&amp;gt; (in 17, 29 and 12) by [[http://music.columbia.edu/%7Echris/|Christopher Bailey]], CD available [[http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;amp;s=music&amp;amp;qid=1184598550&amp;amp;sr=1-19|here]].
* [[http://www.georghajdu.de/heptadecatonic_drops.html|Heptadecatonic Drops]] by Georg Hajdu
* [[http://www.georghajdu.de/63.html?&amp;amp;L=1%20|Klangmoraste]] by Georg Hajdu
* &amp;lt;span class="ymp-btn-page-play ymp-media-60b300d674b6179dec2e49769bcd92d2"&amp;gt;[[http://www.h-pi.com/mp3/17ET.mp3|Two-Part Invention in 17ET]]&amp;lt;/span&amp;gt; by Aaron Andrew Hunt
* [[http://azuma-asobi.com/Music/|Overture to A Midsummer Night's Dream]] by [[http://azuma-asobi.com/|Rick McGowan]]
* [[http://azuma-asobi.com/Music/|Fairy Lullaby from A Midsummer Night's Dream]] by [[http://azuma-asobi.com/|Rick McGowan]]
* [[http://soundclick.com/share?songid=5967982|A Calamitous Simultaneity]] by Iglashion Jones
* A number of compositions from [[http://www.archive.org/details/seventeenTPP_01|seventeen-tone piano project phase I]], [[xenharmonic/SeventeenTPPPhaseTwo|seventeen-tone piano project phase II]], [[xenharmonic/SeventeenTPPPhaseThree|seventeen-tone piano project phase III]].
* [[http://www.archive.org/search.php?query=subject%3A%2217-edo%22|17edo]] - 17edo-tagged compositions on www.archive.org
* [[http://www.microtonalismo.com/proyecto-xvii|Charles Loli 17edo]] music for guitar heptadecatonic (2001) and armony inductive microtonaly (1993) -
* [[http://microtonalismo.com/|microtonalismo]] Heptadecatonic Peruvian&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;17 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Música"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;strong&amp;gt;Música&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;ul&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-3ece313d36e9307c749e0e3549ece422"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.akjmusic.com/audio/adagio_for_margo.mp3" rel="nofollow"&amp;gt;Adagio for Margo&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt; by &amp;lt;a class="wiki_link_ext" href="http://www.akjmusic.com/" rel="nofollow"&amp;gt;Aaron Krister Johnson&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-cd2c0c4934993e036385ed158d0617c4"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://home.comcast.net/%7Eteamouse/Transformation.mp3" rel="nofollow"&amp;gt;Transformation&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt; by &amp;lt;a class="wiki_link_ext" href="http://home.comcast.net/%7Eteamouse/" rel="nofollow"&amp;gt;Herman Miller&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://home.snafu.de/djwolf/PreludeIn17tet.pdf" rel="nofollow"&amp;gt;Prelude&amp;lt;/a&amp;gt; by &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/Daniel%20Wolf"&amp;gt;Daniel Wolf&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-c31e19054d7ac007c7b9b339babdd228"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.emcollective.org/chris/items/17tet/17waltz.mp3" rel="nofollow"&amp;gt;Waltz&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt; by Christopher Bailey&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-817b931db5b9d03733d0439eb4c5b365"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3" rel="nofollow"&amp;gt;Lostfound&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt; by Christopher Bailey&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;excerpt from &amp;lt;span class="ymp-btn-page-play ymp-media-2de29bc81b3c87ba3015583ebe32228c"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3" rel="nofollow"&amp;gt;Balladei&amp;lt;/a&amp;gt; &amp;lt;/span&amp;gt; (in 17, 29 and 12) by &amp;lt;a class="wiki_link_ext" href="http://music.columbia.edu/%7Echris/" rel="nofollow"&amp;gt;Christopher Bailey&amp;lt;/a&amp;gt;, CD available &amp;lt;a class="wiki_link_ext" href="http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;amp;amp;s=music&amp;amp;amp;qid=1184598550&amp;amp;amp;sr=1-19" rel="nofollow"&amp;gt;here&amp;lt;/a&amp;gt;.&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.georghajdu.de/heptadecatonic_drops.html" rel="nofollow"&amp;gt;Heptadecatonic Drops&amp;lt;/a&amp;gt; by Georg Hajdu&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.georghajdu.de/63.html?&amp;amp;amp;L=1%20" rel="nofollow"&amp;gt;Klangmoraste&amp;lt;/a&amp;gt; by Georg Hajdu&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;span class="ymp-btn-page-play ymp-media-60b300d674b6179dec2e49769bcd92d2"&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.h-pi.com/mp3/17ET.mp3" rel="nofollow"&amp;gt;Two-Part Invention in 17ET&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; by Aaron Andrew Hunt&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/Music/" rel="nofollow"&amp;gt;Overture to A Midsummer Night's Dream&amp;lt;/a&amp;gt; by &amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/" rel="nofollow"&amp;gt;Rick McGowan&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/Music/" rel="nofollow"&amp;gt;Fairy Lullaby from A Midsummer Night's Dream&amp;lt;/a&amp;gt; by &amp;lt;a class="wiki_link_ext" href="http://azuma-asobi.com/" rel="nofollow"&amp;gt;Rick McGowan&amp;lt;/a&amp;gt;&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://soundclick.com/share?songid=5967982" rel="nofollow"&amp;gt;A Calamitous Simultaneity&amp;lt;/a&amp;gt; by Iglashion Jones&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;A number of compositions from &amp;lt;a class="wiki_link_ext" href="http://www.archive.org/details/seventeenTPP_01" rel="nofollow"&amp;gt;seventeen-tone piano project phase I&amp;lt;/a&amp;gt;, &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/SeventeenTPPPhaseTwo"&amp;gt;seventeen-tone piano project phase II&amp;lt;/a&amp;gt;, &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/SeventeenTPPPhaseThree"&amp;gt;seventeen-tone piano project phase III&amp;lt;/a&amp;gt;.&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.archive.org/search.php?query=subject%3A%2217-edo%22" rel="nofollow"&amp;gt;17edo&amp;lt;/a&amp;gt; - 17edo-tagged compositions on www.archive.org&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com/proyecto-xvii" rel="nofollow"&amp;gt;Charles Loli 17edo&amp;lt;/a&amp;gt; music for guitar heptadecatonic (2001) and armony inductive microtonaly (1993) -&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://microtonalismo.com/" rel="nofollow"&amp;gt;microtonalismo&amp;lt;/a&amp;gt; Heptadecatonic Peruvian&amp;lt;/li&amp;gt;&amp;lt;/ul&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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    <revision>
      <id>41</id>
      <timestamp>2011-09-16T12:22:34Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254790632 - Original comment: **</comment>
      <origin>41</origin>
      <model>wikitext</model>
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      <text bytes="1227" sha1="ikvckvqdvd1anslj30wn8iw9nz0fkqa" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:22:34 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254790632&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;17&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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    <revision>
      <id>160</id>
      <parentid>4</parentid>
      <timestamp>2018-09-17T00:03:43Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>Texto reemplazado: «(\[\[\:(dev|es|purdal|de|en):[^[:space:]\|]*) (.*])» por «$1|$3»</comment>
      <origin>160</origin>
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      <text bytes="3111" sha1="lm50nsje9874rhe3x8cryhf9ewjvsj2" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;17 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/17). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;1, o sea, la escala diatónica queda distribuída como 3_3_1_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, Db(B#), C#, D, Eb, D#(Fb), E, F, Gb(E#), G, Ab, G#, A, Bb, A#(Cb), B y C.&lt;/span&gt;

=='''Música'''==
&lt;ul&gt;&lt;li&gt;[http://www.youtube.com/watch?v=eM3cFodNHws&amp; Guitarra Heptadecafonica] - por Charles loli&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.akjmusic.com/audio/adagio_for_margo.mp3 Adagio for Margo] &lt;/span&gt;por [http://www.akjmusic.com/ Aaron Krister Johnson]&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://home.comcast.net/%7Eteamouse/Transformation.mp3 Transformation] &lt;/span&gt;por [http://home.comcast.net/%7Eteamouse/ Herman Miller]&lt;/li&gt;&lt;li&gt;[http://home.snafu.de/djwolf/PreludeIn17tet.pdf Prelude] por [[:en:Daniel_Wolf|Daniel Wolf]]&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.emcollective.org/chris/items/17tet/17waltz.mp3 Waltz] &lt;/span&gt;por Christopher Bailey&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3 Lostfound] &lt;/span&gt;por Christopher Bailey&lt;/li&gt;&lt;li&gt;excerpt de &lt;span style=""&gt;[http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3 Balladei] &lt;/span&gt; (en 17, 29 and 12) por [http://music.columbia.edu/%7Echris/ Christopher Bailey], CD [http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;s=music&amp;qid=1184598550&amp;sr=1-19 aquí].&lt;/li&gt;&lt;li&gt;[http://www.georghajdu.de/heptadecatonic_drops.html Heptadecatonic Drops] por Georg Hajdu&lt;/li&gt;&lt;li&gt;[http://www.georghajdu.de/63.html?&amp;L=1%20 Klangmoraste] por Georg Hajdu&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.h-pi.com/mp3/17ET.mp3 Two-Part Invention in 17ET]&lt;/span&gt; por Aaron Andrew Hunt&lt;/li&gt;&lt;li&gt;[http://azuma-asobi.com/Music/ Overture to A Midsummer Night's Dream] por [http://azuma-asobi.com/ Rick McGowan]&lt;/li&gt;&lt;li&gt;[http://azuma-asobi.com/Music/ Fairy Lullaby from A Midsummer Night's Dream] por [http://azuma-asobi.com/ Rick McGowan]&lt;/li&gt;&lt;li&gt;[http://soundclick.com/share?songid=5967982 A Calamitous Simultaneity] por Iglashion Jones&lt;/li&gt;&lt;li&gt;Un amplio repertorio desde [http://www.archive.org/details/seventeenTPP_01 seventeen-tone piano project phase I], [[:en:SeventeenTPPPhaseTwo|seventeen-tone piano project phase II]], [[:en:SeventeenTPPPhaseThree|seventeen-tone piano project phase III]].&lt;/li&gt;&lt;li&gt;[http://www.archive.org/search.php?query=subject%3A%2217-edo%22 17edo] - 17edo-tagged compositions on www.archive.org&lt;/li&gt;&lt;li&gt;[http://www.microtonalismo.com/proyecto-xvii Charles Loli 17edo] Música para guitarra heptadecafónica (2001) y Armonía Inductiva Microtonal (1993)&lt;/li&gt;&lt;li&gt;[http://microtonalismo.com/ microtonalismo] Página peruana dedicada a la Heptadecafonía y la Icosinonafonía (29 EDO).&lt;/li&gt;&lt;/ul&gt;</text>
      <sha1>lm50nsje9874rhe3x8cryhf9ewjvsj2</sha1>
    </revision>
    <revision>
      <id>163</id>
      <parentid>160</parentid>
      <timestamp>2018-09-17T00:04:49Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>Revertidos los cambios de [[Special:Contributions/Battaglia01|Battaglia01]] ([[User talk:Battaglia01|disc.]]) a la última edición de [[User:Wikispaces&gt;FREEZE|Wikispaces&gt;FREEZE]]</comment>
      <origin>163</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3111" sha1="5s9m1hv47c85ejetlkesfstyoohi7fb" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;17 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/17). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;1, o sea, la escala diatónica queda distribuída como 3_3_1_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, Db(B#), C#, D, Eb, D#(Fb), E, F, Gb(E#), G, Ab, G#, A, Bb, A#(Cb), B y C.&lt;/span&gt;

=='''Música'''==
&lt;ul&gt;&lt;li&gt;[http://www.youtube.com/watch?v=eM3cFodNHws&amp; Guitarra Heptadecafonica] - por Charles loli&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.akjmusic.com/audio/adagio_for_margo.mp3 Adagio for Margo] &lt;/span&gt;por [http://www.akjmusic.com/ Aaron Krister Johnson]&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://home.comcast.net/%7Eteamouse/Transformation.mp3 Transformation] &lt;/span&gt;por [http://home.comcast.net/%7Eteamouse/ Herman Miller]&lt;/li&gt;&lt;li&gt;[http://home.snafu.de/djwolf/PreludeIn17tet.pdf Prelude] por [[:en:Daniel_Wolf Daniel Wolf]]&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.emcollective.org/chris/items/17tet/17waltz.mp3 Waltz] &lt;/span&gt;por Christopher Bailey&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3 Lostfound] &lt;/span&gt;por Christopher Bailey&lt;/li&gt;&lt;li&gt;excerpt de &lt;span style=""&gt;[http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3 Balladei] &lt;/span&gt; (en 17, 29 and 12) por [http://music.columbia.edu/%7Echris/ Christopher Bailey], CD [http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;s=music&amp;qid=1184598550&amp;sr=1-19 aquí].&lt;/li&gt;&lt;li&gt;[http://www.georghajdu.de/heptadecatonic_drops.html Heptadecatonic Drops] por Georg Hajdu&lt;/li&gt;&lt;li&gt;[http://www.georghajdu.de/63.html?&amp;L=1%20 Klangmoraste] por Georg Hajdu&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.h-pi.com/mp3/17ET.mp3 Two-Part Invention in 17ET]&lt;/span&gt; por Aaron Andrew Hunt&lt;/li&gt;&lt;li&gt;[http://azuma-asobi.com/Music/ Overture to A Midsummer Night's Dream] por [http://azuma-asobi.com/ Rick McGowan]&lt;/li&gt;&lt;li&gt;[http://azuma-asobi.com/Music/ Fairy Lullaby from A Midsummer Night's Dream] por [http://azuma-asobi.com/ Rick McGowan]&lt;/li&gt;&lt;li&gt;[http://soundclick.com/share?songid=5967982 A Calamitous Simultaneity] por Iglashion Jones&lt;/li&gt;&lt;li&gt;Un amplio repertorio desde [http://www.archive.org/details/seventeenTPP_01 seventeen-tone piano project phase I], [[:en:SeventeenTPPPhaseTwo seventeen-tone piano project phase II]], [[:en:SeventeenTPPPhaseThree seventeen-tone piano project phase III]].&lt;/li&gt;&lt;li&gt;[http://www.archive.org/search.php?query=subject%3A%2217-edo%22 17edo] - 17edo-tagged compositions on www.archive.org&lt;/li&gt;&lt;li&gt;[http://www.microtonalismo.com/proyecto-xvii Charles Loli 17edo] Música para guitarra heptadecafónica (2001) y Armonía Inductiva Microtonal (1993)&lt;/li&gt;&lt;li&gt;[http://microtonalismo.com/ microtonalismo] Página peruana dedicada a la Heptadecafonía y la Icosinonafonía (29 EDO).&lt;/li&gt;&lt;/ul&gt;</text>
      <sha1>5s9m1hv47c85ejetlkesfstyoohi7fb</sha1>
    </revision>
    <revision>
      <id>164</id>
      <parentid>163</parentid>
      <timestamp>2018-09-17T00:05:35Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <origin>164</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3111" sha1="lm50nsje9874rhe3x8cryhf9ewjvsj2" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;17 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/17). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;1, o sea, la escala diatónica queda distribuída como 3_3_1_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, Db(B#), C#, D, Eb, D#(Fb), E, F, Gb(E#), G, Ab, G#, A, Bb, A#(Cb), B y C.&lt;/span&gt;

=='''Música'''==
&lt;ul&gt;&lt;li&gt;[http://www.youtube.com/watch?v=eM3cFodNHws&amp; Guitarra Heptadecafonica] - por Charles loli&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.akjmusic.com/audio/adagio_for_margo.mp3 Adagio for Margo] &lt;/span&gt;por [http://www.akjmusic.com/ Aaron Krister Johnson]&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://home.comcast.net/%7Eteamouse/Transformation.mp3 Transformation] &lt;/span&gt;por [http://home.comcast.net/%7Eteamouse/ Herman Miller]&lt;/li&gt;&lt;li&gt;[http://home.snafu.de/djwolf/PreludeIn17tet.pdf Prelude] por [[:en:Daniel_Wolf|Daniel Wolf]]&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.emcollective.org/chris/items/17tet/17waltz.mp3 Waltz] &lt;/span&gt;por Christopher Bailey&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3 Lostfound] &lt;/span&gt;por Christopher Bailey&lt;/li&gt;&lt;li&gt;excerpt de &lt;span style=""&gt;[http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3 Balladei] &lt;/span&gt; (en 17, 29 and 12) por [http://music.columbia.edu/%7Echris/ Christopher Bailey], CD [http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;s=music&amp;qid=1184598550&amp;sr=1-19 aquí].&lt;/li&gt;&lt;li&gt;[http://www.georghajdu.de/heptadecatonic_drops.html Heptadecatonic Drops] por Georg Hajdu&lt;/li&gt;&lt;li&gt;[http://www.georghajdu.de/63.html?&amp;L=1%20 Klangmoraste] por Georg Hajdu&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.h-pi.com/mp3/17ET.mp3 Two-Part Invention in 17ET]&lt;/span&gt; por Aaron Andrew Hunt&lt;/li&gt;&lt;li&gt;[http://azuma-asobi.com/Music/ Overture to A Midsummer Night's Dream] por [http://azuma-asobi.com/ Rick McGowan]&lt;/li&gt;&lt;li&gt;[http://azuma-asobi.com/Music/ Fairy Lullaby from A Midsummer Night's Dream] por [http://azuma-asobi.com/ Rick McGowan]&lt;/li&gt;&lt;li&gt;[http://soundclick.com/share?songid=5967982 A Calamitous Simultaneity] por Iglashion Jones&lt;/li&gt;&lt;li&gt;Un amplio repertorio desde [http://www.archive.org/details/seventeenTPP_01 seventeen-tone piano project phase I], [[:en:SeventeenTPPPhaseTwo|seventeen-tone piano project phase II]], [[:en:SeventeenTPPPhaseThree|seventeen-tone piano project phase III]].&lt;/li&gt;&lt;li&gt;[http://www.archive.org/search.php?query=subject%3A%2217-edo%22 17edo] - 17edo-tagged compositions on www.archive.org&lt;/li&gt;&lt;li&gt;[http://www.microtonalismo.com/proyecto-xvii Charles Loli 17edo] Música para guitarra heptadecafónica (2001) y Armonía Inductiva Microtonal (1993)&lt;/li&gt;&lt;li&gt;[http://microtonalismo.com/ microtonalismo] Página peruana dedicada a la Heptadecafonía y la Icosinonafonía (29 EDO).&lt;/li&gt;&lt;/ul&gt;</text>
      <sha1>lm50nsje9874rhe3x8cryhf9ewjvsj2</sha1>
    </revision>
    <revision>
      <id>273</id>
      <parentid>164</parentid>
      <timestamp>2018-10-14T20:59:49Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>+cat</comment>
      <origin>273</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3131" sha1="7192cgbnwttwn3ws73hmy6sm6w9lmpu" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;17 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/17). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;1, o sea, la escala diatónica queda distribuída como 3_3_1_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, Db(B#), C#, D, Eb, D#(Fb), E, F, Gb(E#), G, Ab, G#, A, Bb, A#(Cb), B y C.&lt;/span&gt;

=='''Música'''==
&lt;ul&gt;&lt;li&gt;[http://www.youtube.com/watch?v=eM3cFodNHws&amp; Guitarra Heptadecafonica] - por Charles loli&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.akjmusic.com/audio/adagio_for_margo.mp3 Adagio for Margo] &lt;/span&gt;por [http://www.akjmusic.com/ Aaron Krister Johnson]&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://home.comcast.net/%7Eteamouse/Transformation.mp3 Transformation] &lt;/span&gt;por [http://home.comcast.net/%7Eteamouse/ Herman Miller]&lt;/li&gt;&lt;li&gt;[http://home.snafu.de/djwolf/PreludeIn17tet.pdf Prelude] por [[:en:Daniel_Wolf|Daniel Wolf]]&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.emcollective.org/chris/items/17tet/17waltz.mp3 Waltz] &lt;/span&gt;por Christopher Bailey&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3 Lostfound] &lt;/span&gt;por Christopher Bailey&lt;/li&gt;&lt;li&gt;excerpt de &lt;span style=""&gt;[http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3 Balladei] &lt;/span&gt; (en 17, 29 and 12) por [http://music.columbia.edu/%7Echris/ Christopher Bailey], CD [http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;s=music&amp;qid=1184598550&amp;sr=1-19 aquí].&lt;/li&gt;&lt;li&gt;[http://www.georghajdu.de/heptadecatonic_drops.html Heptadecatonic Drops] por Georg Hajdu&lt;/li&gt;&lt;li&gt;[http://www.georghajdu.de/63.html?&amp;L=1%20 Klangmoraste] por Georg Hajdu&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.h-pi.com/mp3/17ET.mp3 Two-Part Invention in 17ET]&lt;/span&gt; por Aaron Andrew Hunt&lt;/li&gt;&lt;li&gt;[http://azuma-asobi.com/Music/ Overture to A Midsummer Night's Dream] por [http://azuma-asobi.com/ Rick McGowan]&lt;/li&gt;&lt;li&gt;[http://azuma-asobi.com/Music/ Fairy Lullaby from A Midsummer Night's Dream] por [http://azuma-asobi.com/ Rick McGowan]&lt;/li&gt;&lt;li&gt;[http://soundclick.com/share?songid=5967982 A Calamitous Simultaneity] por Iglashion Jones&lt;/li&gt;&lt;li&gt;Un amplio repertorio desde [http://www.archive.org/details/seventeenTPP_01 seventeen-tone piano project phase I], [[:en:SeventeenTPPPhaseTwo|seventeen-tone piano project phase II]], [[:en:SeventeenTPPPhaseThree|seventeen-tone piano project phase III]].&lt;/li&gt;&lt;li&gt;[http://www.archive.org/search.php?query=subject%3A%2217-edo%22 17edo] - 17edo-tagged compositions on www.archive.org&lt;/li&gt;&lt;li&gt;[http://www.microtonalismo.com/proyecto-xvii Charles Loli 17edo] Música para guitarra heptadecafónica (2001) y Armonía Inductiva Microtonal (1993)&lt;/li&gt;&lt;li&gt;[http://microtonalismo.com/ microtonalismo] Página peruana dedicada a la Heptadecafonía y la Icosinonafonía (29 EDO).&lt;/li&gt;&lt;/ul&gt;

[[Categoría:edo]]</text>
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    </revision>
    <revision>
      <id>274</id>
      <parentid>273</parentid>
      <timestamp>2018-10-14T21:02:16Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>+interwiki de, en, ja</comment>
      <origin>274</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3205" sha1="csseqv0w8akatywzsmr0l5a3req5sgp" xml:space="preserve">{{interwiki
| de = 17edo
| en = 17edo
| es = 17 EDO
| ja = 17平均律
}}
=&lt;span style="background-color: #ffffff;"&gt;17 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/17). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;1, o sea, la escala diatónica queda distribuída como 3_3_1_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, Db(B#), C#, D, Eb, D#(Fb), E, F, Gb(E#), G, Ab, G#, A, Bb, A#(Cb), B y C.&lt;/span&gt;

=='''Música'''==
&lt;ul&gt;&lt;li&gt;[http://www.youtube.com/watch?v=eM3cFodNHws&amp; Guitarra Heptadecafonica] - por Charles loli&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.akjmusic.com/audio/adagio_for_margo.mp3 Adagio for Margo] &lt;/span&gt;por [http://www.akjmusic.com/ Aaron Krister Johnson]&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://home.comcast.net/%7Eteamouse/Transformation.mp3 Transformation] &lt;/span&gt;por [http://home.comcast.net/%7Eteamouse/ Herman Miller]&lt;/li&gt;&lt;li&gt;[http://home.snafu.de/djwolf/PreludeIn17tet.pdf Prelude] por [[:en:Daniel_Wolf|Daniel Wolf]]&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.emcollective.org/chris/items/17tet/17waltz.mp3 Waltz] &lt;/span&gt;por Christopher Bailey&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.emcollective.org/chris/items/17Chorus/17tppp4_lostfound.mp3 Lostfound] &lt;/span&gt;por Christopher Bailey&lt;/li&gt;&lt;li&gt;excerpt de &lt;span style=""&gt;[http://music.columbia.edu/%7Echris/sounds/balladei_exc.mp3 Balladei] &lt;/span&gt; (en 17, 29 and 12) por [http://music.columbia.edu/%7Echris/ Christopher Bailey], CD [http://www.amazon.com/Christopher-Bailey-Shiau-Uen-Jacob-Rhodebeck/dp/B000TDZSAU/ref=sr_1_19/105-0183009-3913216?ie=UTF8&amp;s=music&amp;qid=1184598550&amp;sr=1-19 aquí].&lt;/li&gt;&lt;li&gt;[http://www.georghajdu.de/heptadecatonic_drops.html Heptadecatonic Drops] por Georg Hajdu&lt;/li&gt;&lt;li&gt;[http://www.georghajdu.de/63.html?&amp;L=1%20 Klangmoraste] por Georg Hajdu&lt;/li&gt;&lt;li&gt;&lt;span style=""&gt;[http://www.h-pi.com/mp3/17ET.mp3 Two-Part Invention in 17ET]&lt;/span&gt; por Aaron Andrew Hunt&lt;/li&gt;&lt;li&gt;[http://azuma-asobi.com/Music/ Overture to A Midsummer Night's Dream] por [http://azuma-asobi.com/ Rick McGowan]&lt;/li&gt;&lt;li&gt;[http://azuma-asobi.com/Music/ Fairy Lullaby from A Midsummer Night's Dream] por [http://azuma-asobi.com/ Rick McGowan]&lt;/li&gt;&lt;li&gt;[http://soundclick.com/share?songid=5967982 A Calamitous Simultaneity] por Iglashion Jones&lt;/li&gt;&lt;li&gt;Un amplio repertorio desde [http://www.archive.org/details/seventeenTPP_01 seventeen-tone piano project phase I], [[:en:SeventeenTPPPhaseTwo|seventeen-tone piano project phase II]], [[:en:SeventeenTPPPhaseThree|seventeen-tone piano project phase III]].&lt;/li&gt;&lt;li&gt;[http://www.archive.org/search.php?query=subject%3A%2217-edo%22 17edo] - 17edo-tagged compositions on www.archive.org&lt;/li&gt;&lt;li&gt;[http://www.microtonalismo.com/proyecto-xvii Charles Loli 17edo] Música para guitarra heptadecafónica (2001) y Armonía Inductiva Microtonal (1993)&lt;/li&gt;&lt;li&gt;[http://microtonalismo.com/ microtonalismo] Página peruana dedicada a la Heptadecafonía y la Icosinonafonía (29 EDO).&lt;/li&gt;&lt;/ul&gt;

[[Categoría:edo]]</text>
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  </page>
  <page>
    <title>19 EDO</title>
    <ns>0</ns>
    <id>5</id>
    <revision>
      <id>5</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
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&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/19). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;2, o sea, la escala diatónica queda distribuida como 3_3_2_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, C#, Db, D, D#, Eb, E, E#(Fb), F, F#, Gb, G, G#, Ab, A, A#, Bb, B y B#(Cb). Este sistema es particularmente el sistema mesotónico de 1/3 de comma de Salinas.&lt;/span&gt;

&lt;youtube&gt;2amhaiI8TfM&lt;/youtube&gt;

[[File:Gitarra_Nonadecafónica_Freenote_(19-ED2).png|alt=Gitarra Nonadecafónica Freenote (19-ED2).png|Gitarra Nonadecafónica Freenote (19-ED2).png]]

Guitarra Nonadecafónica de Igliashon Jones. Los puntitos señalan la extrapolación de la escala diatónica a 5-3-3-3-5.</text>
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      <comment>**Imported revision 382679578 - Original comment: **</comment>
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/19). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;2, o sea, la escala diatónica queda distribuida como 3_3_2_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, C#, Db, D, D#, Eb, E, E#(Fb), F, F#, Gb, G, G#, Ab, A, A#, Bb, B y B#(Cb). Este sistema es particularmente el sistema mesotónico de 1/3 de comma de Salinas.&amp;lt;/span&amp;gt;
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[[image:Gitarra Nonadecafónica Freenote (19-ED2).png]]
Guitarra Nonadecafónica de Igliashon Jones. Los puntitos señalan la extrapolación de la escala diatónica a 5-3-3-3-5.&lt;/pre&gt;&lt;/div&gt;
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/19). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;2, o sea, la escala diatónica queda distribuida como 3_3_2_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, C#, Db, D, D#, Eb, E, E#(Fb), F, F#, Gb, G, G#, Ab, A, A#, Bb, B y B#(Cb). Este sistema es particularmente el sistema mesotónico de 1/3 de comma de Salinas.&amp;lt;/span&amp;gt;
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      <comment>**Imported revision 382649012 - Original comment: **</comment>
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      <text bytes="3730" sha1="c1jjap5xyyzwge2ba31xve0pp5ab6qb" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/19). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;2, o sea, la escala diatónica queda distribuida como 3_3_2_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, C#, Db, D, D#, Eb, E, E#(Fb), F, F#, Gb, G, G#, Ab, A, A#, Bb, B y B#(Cb). Este sistema es particularmente el sistema mesotónico de 1/3 de comma de Salinas.&amp;lt;/span&amp;gt;
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/19). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;2, o sea, la escala diatónica queda distribuida como 3_3_2_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, C#, Db, D, D#, Eb, E, E#(Fb), F, F#, Gb, G, G#, Ab, A, A#, Bb, B y B#(Cb). Este sistema es particularmente el sistema mesotónico de 1/3 de comma de Salinas.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
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      <comment>**Imported revision 382648552 - Original comment: **</comment>
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/19). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;2, o sea, la escala diatónica queda distribuída como 3_3_2_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, C#, Db, D, D#, Eb, E, E#(Fb), F, F#, Gb, G, G#, Ab, A, A#, Bb, B y B#(Cb). Este sistema es particularmente el sistema de 1/3 de comma mesotonal de Salinas.&amp;lt;/span&amp;gt;
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 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/19). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;2, o sea, la escala diatónica queda distribuída como 3_3_2_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, C#, Db, D, D#, Eb, E, E#(Fb), F, F#, Gb, G, G#, Ab, A, A#, Bb, B y B#(Cb). Este sistema es particularmente el sistema de 1/3 de comma mesotonal de Salinas.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
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=&lt;span style="background-color: #ffffff;"&gt;19 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/19). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;2, o sea, la escala diatónica queda distribuida como 3_3_2_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, C#, Db, D, D#, Eb, E, E#(Fb), F, F#, Gb, G, G#, Ab, A, A#, Bb, B y B#(Cb). Este sistema es particularmente el sistema mesotónico de 1/3 de comma de Salinas.&lt;/span&gt;

&lt;youtube&gt;2amhaiI8TfM&lt;/youtube&gt;

[[File:Gitarra_Nonadecafónica_Freenote_(19-ED2).png|alt=Gitarra Nonadecafónica Freenote (19-ED2).png|Gitarra Nonadecafónica Freenote (19-ED2).png]]

Guitarra Nonadecafónica de Igliashon Jones. Los puntitos señalan la extrapolación de la escala diatónica a 5-3-3-3-5.</text>
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=&lt;span style="background-color: #ffffff;"&gt;19 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/19). Ha de amoldar perfectamente la notación tradicional, a modo de Terciotonos en relación de 3;2, o sea, la escala diatónica queda distribuida como 3_3_2_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así: C, C#, Db, D, D#, Eb, E, E#(Fb), F, F#, Gb, G, G#, Ab, A, A#, Bb, B y B#(Cb). Este sistema es particularmente el sistema mesotónico de 1/3 de comma de Salinas.&lt;/span&gt;

&lt;youtube&gt;2amhaiI8TfM&lt;/youtube&gt;

[[File:Gitarra_Nonadecafónica_Freenote_(19-ED2).png|alt=Gitarra Nonadecafónica Freenote (19-ED2).png|Gitarra Nonadecafónica Freenote (19-ED2).png]]

Guitarra Nonadecafónica de Igliashon Jones. Los puntitos señalan la extrapolación de la escala diatónica a 5-3-3-3-5.

[[Categoría:Edo]]</text>
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&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/20). Daniel Stearns es conocido por darle bastante uso a este sistema musical Icosafónico.&lt;/span&gt;</text>
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      <comment>**Imported revision 382670688 - Original comment: **</comment>
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/20). Daniel Stearns es conocido por darle bastante uso a este sistema musical Icosafónico.&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/20). Daniel Stearns es conocido por darle bastante uso a este sistema musical Icosafónico.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 382649436 - Original comment: **</comment>
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/20). Daniel Stearns es conocido por darle bastante uso a este sistema musical Icosafónico.&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/20). Daniel Stearns es conocido por darle bastante uso a este sistema musical Icosafónico.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 256064052 - Original comment: **</comment>
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      <text bytes="353" sha1="p0jjgtg18utz7m0yljz5awt5cljsr6p" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;20 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/20). Daniel Stearns es conocido por darle bastante uso a este sistema musical Icosafónico.&lt;/span&gt;

[[Categoría:Edo]]</text>
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  <page>
    <title>23 EDO</title>
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      <text bytes="2205" sha1="ijuhqkaf2lqfhgk65z2ueomqdglslpr" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;23 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y '9'. Milagrosamente, Erich Moritz von Hornbostel dió la chispa inicial para indagar y haber hecho relaciones de los sistemas musicales ancestrales aún en uso en distintas zonas del Asia, África y Sudamérica, concluyendo que sus diferencias en cuanto a tamaños de intervalos entre una y otra cultura se integraban en resumen a un sistema de 23 notas por octava por el uso de la Quinta Soplada (actual Sexta, en notación Armodue), denominada por él mismo como un intervalo de aproximadamente 678 Cents. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado por él como Icositrifonía.&lt;/span&gt;

[[File:Icositrifonía_superdiatónica.png|alt=Icositrifonía superdiatónica.png|442x442px|Icositrifonía superdiatónica.png]]

Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.

[[File:Sqr_std_Strat_LH_23-EDD.png|alt=Sqr std Strat LH 23-EDD.png|800x283px|Sqr std Strat LH 23-EDD.png]]

Guitarra ilustrativa icositrifónica. Los puntitos señalan la extrapolación de la escala superdiatónica ó mávila-9 a 4-3-3-3-3-3-4.

[[File:Icositriphonic_Gitar_1.JPG|alt=Icositriphonic Gitar 1.JPG|800x286px|Icositriphonic Gitar 1.JPG]]

La 'Icositritarra' de Tútim Dennsuul Wafiil.

[[File:Icositriphonic_Bass.JPG|alt=Icositriphonic Bass.JPG|863x326px|Icositriphonic Bass.JPG]]

El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio [http://www.reverbnation.com/23tdw39 aquí.]</text>
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      <timestamp>2013-01-16T20:14:38Z</timestamp>
      <contributor>
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        <id>0</id>
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      <comment>**Imported revision 399065964 - Original comment: **</comment>
      <origin>50</origin>
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      <text bytes="7774" sha1="2k971inh09br4ih8mlygqqsmt9wj90s" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:guest|guest]] and made on &lt;tt&gt;2013-01-16 20:14:38 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;399065964&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;23 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y '9'. Milagrosamente, Erich Moritz von Hornbostel dió la chispa inicial para indagar y haber hecho relaciones de los sistemas musicales ancestrales aún en uso en distintas zonas del Asia, África y Sudamérica, concluyendo que sus diferencias en cuanto a tamaños de intervalos entre una y otra cultura se integraban en resumen a un sistema de 23 notas por octava por el uso de la Quinta Soplada (actual Sexta, en notación Armodue), denominada por él mismo como un intervalo de aproximadamente 678 Cents. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado por él como Icositrifonía.&amp;lt;/span&amp;gt;
[[image:Icositrifonía superdiatónica.png width="442" height="442"]]
Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.

[[image:Sqr std Strat LH 23-EDD.png width="800" height="283"]]
Guitarra ilustrativa icositrifónica. Los puntitos señalan la extrapolación de la escala superdiatónica ó mávila-9 a 4-3-3-3-3-3-4.

[[image:Icositriphonic Gitar 1.JPG width="800" height="286"]]
La 'Icositritarra' de Tútim Dennsuul Wafiil.

[[image:Icositriphonic Bass.JPG width="863" height="326"]]
El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio [[http://www.reverbnation.com/23tdw39|aquí.]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;23 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="x23 Equitativas Divisiones por Octava"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span style="background-color: #ffffff;"&amp;gt;23 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y '9'. Milagrosamente, Erich Moritz von Hornbostel dió la chispa inicial para indagar y haber hecho relaciones de los sistemas musicales ancestrales aún en uso en distintas zonas del Asia, África y Sudamérica, concluyendo que sus diferencias en cuanto a tamaños de intervalos entre una y otra cultura se integraban en resumen a un sistema de 23 notas por octava por el uso de la Quinta Soplada (actual Sexta, en notación Armodue), denominada por él mismo como un intervalo de aproximadamente 678 Cents. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado por él como Icositrifonía.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:2:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png/382652336/442x442/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 442px; width: 442px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png/382652336/442x442/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png" alt="Icositrifonía superdiatónica.png" title="Icositrifonía superdiatónica.png" style="height: 442px; width: 442px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:2 --&amp;gt;&amp;lt;br /&amp;gt;
Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:3:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Sqr%20std%20Strat%20LH%2023-EDD.png/382653164/800x283/Sqr%20std%20Strat%20LH%2023-EDD.png&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 283px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Sqr%20std%20Strat%20LH%2023-EDD.png/382653164/800x283/Sqr%20std%20Strat%20LH%2023-EDD.png" alt="Sqr std Strat LH 23-EDD.png" title="Sqr std Strat LH 23-EDD.png" style="height: 283px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:3 --&amp;gt;&amp;lt;br /&amp;gt;
Guitarra ilustrativa icositrifónica. Los puntitos señalan la extrapolación de la escala superdiatónica ó mávila-9 a 4-3-3-3-3-3-4.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:4:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositriphonic%20Gitar%201.JPG/382654198/800x286/Icositriphonic%20Gitar%201.JPG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 286px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositriphonic%20Gitar%201.JPG/382654198/800x286/Icositriphonic%20Gitar%201.JPG" alt="Icositriphonic Gitar 1.JPG" title="Icositriphonic Gitar 1.JPG" style="height: 286px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:4 --&amp;gt;&amp;lt;br /&amp;gt;
La 'Icositritarra' de Tútim Dennsuul Wafiil.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:5:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositriphonic%20Bass.JPG/382654562/863x326/Icositriphonic%20Bass.JPG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 326px; width: 863px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositriphonic%20Bass.JPG/382654562/863x326/Icositriphonic%20Bass.JPG" alt="Icositriphonic Bass.JPG" title="Icositriphonic Bass.JPG" style="height: 326px; width: 863px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:5 --&amp;gt;&amp;lt;br /&amp;gt;
El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio &amp;lt;a class="wiki_link_ext" href="http://www.reverbnation.com/23tdw39" rel="nofollow"&amp;gt;aquí.&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <timestamp>2012-11-15T02:05:01Z</timestamp>
      <contributor>
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        <id>0</id>
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      <comment>**Imported revision 382678594 - Original comment: **</comment>
      <origin>51</origin>
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      <text bytes="7774" sha1="3doh8qfeslalwphur3kvat7z1tnkw15" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 02:05:01 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382678594&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;23 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y '9'. Milagrosamente, Erich Moritz von Hornbostel dió la chispa inicial para indagar y haber hecho relaciones de los sistemas musicales ancestrales aún en uso en distintas zonas del Asia, África y Sudamérica, concluyendo que sus diferencias en cuanto a tamaños de intervalos entre una y otra cultura se integraban en resumen a un sistema de 23 notas por octava por el uso de la Quinta Soplada (actual Sexta, en notación Armodue), denominada por él mismo como un intervalo de aproximadamente 678 Cents. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado como Icositrifonía.&amp;lt;/span&amp;gt;
[[image:Icositrifonía superdiatónica.png width="442" height="442"]]
Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.

[[image:Sqr std Strat LH 23-EDD.png width="800" height="283"]]
Guitarra ilustrativa icositrifónica. Los puntitos señalan la extrapolación de la escala superdiatónica ó mávila-9 a 4-3-3-3-3-3-4.

[[image:Icositriphonic Gitar 1.JPG width="800" height="286"]]
La 'Icositritarra' de Tútim Dennsuul Wafiil.

[[image:Icositriphonic Bass.JPG width="863" height="326"]]
El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio [[http://www.reverbnation.com/23tdw39|aquí.]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;23 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="x23 Equitativas Divisiones por Octava"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span style="background-color: #ffffff;"&amp;gt;23 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y '9'. Milagrosamente, Erich Moritz von Hornbostel dió la chispa inicial para indagar y haber hecho relaciones de los sistemas musicales ancestrales aún en uso en distintas zonas del Asia, África y Sudamérica, concluyendo que sus diferencias en cuanto a tamaños de intervalos entre una y otra cultura se integraban en resumen a un sistema de 23 notas por octava por el uso de la Quinta Soplada (actual Sexta, en notación Armodue), denominada por él mismo como un intervalo de aproximadamente 678 Cents. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado como Icositrifonía.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:2:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png/382652336/442x442/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 442px; width: 442px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png/382652336/442x442/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png" alt="Icositrifonía superdiatónica.png" title="Icositrifonía superdiatónica.png" style="height: 442px; width: 442px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:2 --&amp;gt;&amp;lt;br /&amp;gt;
Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:3:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Sqr%20std%20Strat%20LH%2023-EDD.png/382653164/800x283/Sqr%20std%20Strat%20LH%2023-EDD.png&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 283px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Sqr%20std%20Strat%20LH%2023-EDD.png/382653164/800x283/Sqr%20std%20Strat%20LH%2023-EDD.png" alt="Sqr std Strat LH 23-EDD.png" title="Sqr std Strat LH 23-EDD.png" style="height: 283px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:3 --&amp;gt;&amp;lt;br /&amp;gt;
Guitarra ilustrativa icositrifónica. Los puntitos señalan la extrapolación de la escala superdiatónica ó mávila-9 a 4-3-3-3-3-3-4.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:4:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositriphonic%20Gitar%201.JPG/382654198/800x286/Icositriphonic%20Gitar%201.JPG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 286px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositriphonic%20Gitar%201.JPG/382654198/800x286/Icositriphonic%20Gitar%201.JPG" alt="Icositriphonic Gitar 1.JPG" title="Icositriphonic Gitar 1.JPG" style="height: 286px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:4 --&amp;gt;&amp;lt;br /&amp;gt;
La 'Icositritarra' de Tútim Dennsuul Wafiil.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:5:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositriphonic%20Bass.JPG/382654562/863x326/Icositriphonic%20Bass.JPG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 326px; width: 863px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositriphonic%20Bass.JPG/382654562/863x326/Icositriphonic%20Bass.JPG" alt="Icositriphonic Bass.JPG" title="Icositriphonic Bass.JPG" style="height: 326px; width: 863px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:5 --&amp;gt;&amp;lt;br /&amp;gt;
El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio &amp;lt;a class="wiki_link_ext" href="http://www.reverbnation.com/23tdw39" rel="nofollow"&amp;gt;aquí.&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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    <revision>
      <id>52</id>
      <timestamp>2012-11-15T02:04:03Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 382678402 - Original comment: **</comment>
      <origin>52</origin>
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      <text bytes="7774" sha1="op4439nsaiucvigi4d3wk5u81zx18zq" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 02:04:03 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382678402&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;23 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y '9'. Milagrosamente, Erich Moritz von Hornbostel dió la chispa inicial para indagar y haber hecho relaciones de los sistemas musicales ancestrales aún en uso en distintas zonas del Asia, África y Sudamérica, concluyendo que sus diferencias en cuanto a tamaños de intervalos entre una y otra cultura se integraban en resumen a un sistema de 23 notas por octava por el uso de la Quinta Soplada (actual Sexta, en notación Armodue), denominada por él mismo como un intervalo de aproximadamente 678 Cents. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado como Icositrifonía.&amp;lt;/span&amp;gt;
[[image:Icositrifonía superdiatónica.png width="442" height="442"]]
Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.

[[image:Sqr std Strat LH 23-EDD.png width="800" height="283"]]
Guitarra ilustrativa icositrifónica. Los puntitos reflejan la extrapolación de la escala superdiatónica ó mávila-9 a 4-3-3-3-3-3-4.

[[image:Icositriphonic Gitar 1.JPG width="800" height="286"]]
La 'Icositritarra' de Tútim Dennsuul Wafiil.

[[image:Icositriphonic Bass.JPG width="863" height="326"]]
El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio [[http://www.reverbnation.com/23tdw39|aquí.]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;23 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="x23 Equitativas Divisiones por Octava"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span style="background-color: #ffffff;"&amp;gt;23 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y '9'. Milagrosamente, Erich Moritz von Hornbostel dió la chispa inicial para indagar y haber hecho relaciones de los sistemas musicales ancestrales aún en uso en distintas zonas del Asia, África y Sudamérica, concluyendo que sus diferencias en cuanto a tamaños de intervalos entre una y otra cultura se integraban en resumen a un sistema de 23 notas por octava por el uso de la Quinta Soplada (actual Sexta, en notación Armodue), denominada por él mismo como un intervalo de aproximadamente 678 Cents. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado como Icositrifonía.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:2:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png/382652336/442x442/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 442px; width: 442px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png/382652336/442x442/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png" alt="Icositrifonía superdiatónica.png" title="Icositrifonía superdiatónica.png" style="height: 442px; width: 442px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:2 --&amp;gt;&amp;lt;br /&amp;gt;
Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:3:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Sqr%20std%20Strat%20LH%2023-EDD.png/382653164/800x283/Sqr%20std%20Strat%20LH%2023-EDD.png&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 283px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Sqr%20std%20Strat%20LH%2023-EDD.png/382653164/800x283/Sqr%20std%20Strat%20LH%2023-EDD.png" alt="Sqr std Strat LH 23-EDD.png" title="Sqr std Strat LH 23-EDD.png" style="height: 283px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:3 --&amp;gt;&amp;lt;br /&amp;gt;
Guitarra ilustrativa icositrifónica. Los puntitos reflejan la extrapolación de la escala superdiatónica ó mávila-9 a 4-3-3-3-3-3-4.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:4:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositriphonic%20Gitar%201.JPG/382654198/800x286/Icositriphonic%20Gitar%201.JPG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 286px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositriphonic%20Gitar%201.JPG/382654198/800x286/Icositriphonic%20Gitar%201.JPG" alt="Icositriphonic Gitar 1.JPG" title="Icositriphonic Gitar 1.JPG" style="height: 286px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:4 --&amp;gt;&amp;lt;br /&amp;gt;
La 'Icositritarra' de Tútim Dennsuul Wafiil.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:5:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositriphonic%20Bass.JPG/382654562/863x326/Icositriphonic%20Bass.JPG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 326px; width: 863px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositriphonic%20Bass.JPG/382654562/863x326/Icositriphonic%20Bass.JPG" alt="Icositriphonic Bass.JPG" title="Icositriphonic Bass.JPG" style="height: 326px; width: 863px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:5 --&amp;gt;&amp;lt;br /&amp;gt;
El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio &amp;lt;a class="wiki_link_ext" href="http://www.reverbnation.com/23tdw39" rel="nofollow"&amp;gt;aquí.&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>op4439nsaiucvigi4d3wk5u81zx18zq</sha1>
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    <revision>
      <id>53</id>
      <timestamp>2012-11-15T01:21:20Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 382670766 - Original comment: **</comment>
      <origin>53</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="7748" sha1="f46qjiiygxsq2oymvkpxtifxd52p9eh" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 01:21:20 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382670766&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;23 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y '9'. Milagrosamente, Erich Moritz von Hornbostel dió la chispa inicial para indagar y haber hecho relaciones de los sistemas musicales ancestrales aún en uso en distintas zonas del Asia, África y Sudamérica, concluyendo que sus diferencias en cuanto a tamaños de intervalos entre una y otra cultura se integraban en resumen a un sistema de 23 notas por octava por el uso de la Quinta Soplada (actual Sexta, en notación Armodue), denominada por él mismo como un intervalo de aproximadamente 678 Cents. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado como Icositrifonía.&amp;lt;/span&amp;gt;
[[image:Icositrifonía superdiatónica.png width="442" height="442"]]
Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.

[[image:Sqr std Strat LH 23-EDD.png width="800" height="283"]]
Guitarra ilustrativa icositrifónica. Los puntitos reflejan la extrapolación de la escala superdiatónica a 4-3-3-3-3-3-4.

[[image:Icositriphonic Gitar 1.JPG width="800" height="286"]]
La 'Icositritarra' de Tútim Dennsuul Wafiil.

[[image:Icositriphonic Bass.JPG width="863" height="326"]]
El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio [[http://www.reverbnation.com/23tdw39|aquí.]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;23 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="x23 Equitativas Divisiones por Octava"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span style="background-color: #ffffff;"&amp;gt;23 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y '9'. Milagrosamente, Erich Moritz von Hornbostel dió la chispa inicial para indagar y haber hecho relaciones de los sistemas musicales ancestrales aún en uso en distintas zonas del Asia, África y Sudamérica, concluyendo que sus diferencias en cuanto a tamaños de intervalos entre una y otra cultura se integraban en resumen a un sistema de 23 notas por octava por el uso de la Quinta Soplada (actual Sexta, en notación Armodue), denominada por él mismo como un intervalo de aproximadamente 678 Cents. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado como Icositrifonía.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:2:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png/382652336/442x442/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 442px; width: 442px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png/382652336/442x442/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png" alt="Icositrifonía superdiatónica.png" title="Icositrifonía superdiatónica.png" style="height: 442px; width: 442px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:2 --&amp;gt;&amp;lt;br /&amp;gt;
Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:3:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Sqr%20std%20Strat%20LH%2023-EDD.png/382653164/800x283/Sqr%20std%20Strat%20LH%2023-EDD.png&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 283px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Sqr%20std%20Strat%20LH%2023-EDD.png/382653164/800x283/Sqr%20std%20Strat%20LH%2023-EDD.png" alt="Sqr std Strat LH 23-EDD.png" title="Sqr std Strat LH 23-EDD.png" style="height: 283px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:3 --&amp;gt;&amp;lt;br /&amp;gt;
Guitarra ilustrativa icositrifónica. Los puntitos reflejan la extrapolación de la escala superdiatónica a 4-3-3-3-3-3-4.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:4:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositriphonic%20Gitar%201.JPG/382654198/800x286/Icositriphonic%20Gitar%201.JPG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 286px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositriphonic%20Gitar%201.JPG/382654198/800x286/Icositriphonic%20Gitar%201.JPG" alt="Icositriphonic Gitar 1.JPG" title="Icositriphonic Gitar 1.JPG" style="height: 286px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:4 --&amp;gt;&amp;lt;br /&amp;gt;
La 'Icositritarra' de Tútim Dennsuul Wafiil.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:5:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositriphonic%20Bass.JPG/382654562/863x326/Icositriphonic%20Bass.JPG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 326px; width: 863px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositriphonic%20Bass.JPG/382654562/863x326/Icositriphonic%20Bass.JPG" alt="Icositriphonic Bass.JPG" title="Icositriphonic Bass.JPG" style="height: 326px; width: 863px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:5 --&amp;gt;&amp;lt;br /&amp;gt;
El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio &amp;lt;a class="wiki_link_ext" href="http://www.reverbnation.com/23tdw39" rel="nofollow"&amp;gt;aquí.&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>f46qjiiygxsq2oymvkpxtifxd52p9eh</sha1>
    </revision>
    <revision>
      <id>54</id>
      <timestamp>2012-11-15T00:25:15Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 382660080 - Original comment: **</comment>
      <origin>54</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="7752" sha1="5paylyhhdf0mtk16nywyri5hzn957cc" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 00:25:15 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382660080&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;23 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y '9'. Milagrosamente, Erich Moritz von Hornbostel dió la chispa inicial para indagar y haber hecho relaciones de los sistemas musicales ancestrales aún en uso en distintas zonas del Asia, África y Sudamérica, concluyendo que sus diferencias en cuanto a tamaños de intervalos entre una y otra cultura se integraban en resumen a un sistema de 23 notas por octava por el uso de la Quinta Soplada (actual Sexta, en notación Armodue), denominada por él mismo como un intervalo de aproximadamente 678 Cents. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado como Icositrifonía.&amp;lt;/span&amp;gt;
[[image:Icositrifonía superdiatónica.png width="442" height="442"]]
Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.

[[image:Sqr std Strat LH 23-EDD.png width="800" height="283"]]
Guitarra ilustrativa icositrifónica. Los puntitos reflejan la extrapolación de la escala superdiatónica a 4-3-3-3-3-3-4.

[[image:Icositriphonic Gitar 1.JPG width="800" height="286"]]
La 'Icositritarra' de Tútim Dennsuul Wafiil.

[[image:Icositriphonic Bass.JPG width="863" height="326"]]
El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio [[http://www.reverbnation.com/23tdw39|aquí.]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;23 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="x23 Equitativas Divisiones por Octava"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span style="background-color: #ffffff;"&amp;gt;23 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y '9'. Milagrosamente, Erich Moritz von Hornbostel dió la chispa inicial para indagar y haber hecho relaciones de los sistemas musicales ancestrales aún en uso en distintas zonas del Asia, África y Sudamérica, concluyendo que sus diferencias en cuanto a tamaños de intervalos entre una y otra cultura se integraban en resumen a un sistema de 23 notas por octava por el uso de la Quinta Soplada (actual Sexta, en notación Armodue), denominada por él mismo como un intervalo de aproximadamente 678 Cents. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado como Icositrifonía.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:2:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png/382652336/442x442/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 442px; width: 442px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png/382652336/442x442/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png" alt="Icositrifonía superdiatónica.png" title="Icositrifonía superdiatónica.png" style="height: 442px; width: 442px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:2 --&amp;gt;&amp;lt;br /&amp;gt;
Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:3:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Sqr%20std%20Strat%20LH%2023-EDD.png/382653164/800x283/Sqr%20std%20Strat%20LH%2023-EDD.png&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 283px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Sqr%20std%20Strat%20LH%2023-EDD.png/382653164/800x283/Sqr%20std%20Strat%20LH%2023-EDD.png" alt="Sqr std Strat LH 23-EDD.png" title="Sqr std Strat LH 23-EDD.png" style="height: 283px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:3 --&amp;gt;&amp;lt;br /&amp;gt;
Guitarra ilustrativa icositrifónica. Los puntitos reflejan la extrapolación de la escala superdiatónica a 4-3-3-3-3-3-4.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:4:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositriphonic%20Gitar%201.JPG/382654198/800x286/Icositriphonic%20Gitar%201.JPG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 286px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositriphonic%20Gitar%201.JPG/382654198/800x286/Icositriphonic%20Gitar%201.JPG" alt="Icositriphonic Gitar 1.JPG" title="Icositriphonic Gitar 1.JPG" style="height: 286px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:4 --&amp;gt;&amp;lt;br /&amp;gt;
La 'Icositritarra' de Tútim Dennsuul Wafiil.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:5:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositriphonic%20Bass.JPG/382654562/863x326/Icositriphonic%20Bass.JPG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 326px; width: 863px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositriphonic%20Bass.JPG/382654562/863x326/Icositriphonic%20Bass.JPG" alt="Icositriphonic Bass.JPG" title="Icositriphonic Bass.JPG" style="height: 326px; width: 863px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:5 --&amp;gt;&amp;lt;br /&amp;gt;
El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio &amp;lt;a class="wiki_link_ext" href="http://www.reverbnation.com/23tdw39" rel="nofollow"&amp;gt;aquí.&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 382656784 - Original comment: **</comment>
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      <text bytes="6742" sha1="p4qjui58m9tv58ui5kcw45964ycchaf" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
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: The original revision id was &lt;tt&gt;382656784&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;23 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y 9. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado como Icositrifonía.&amp;lt;/span&amp;gt;
[[image:Icositrifonía superdiatónica.png width="442" height="442"]]
Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.

[[image:Sqr std Strat LH 23-EDD.png width="800" height="283"]]
Guitarra ilustrativa icositrifónica. Los puntitos reflejan la extrapolación de la escala superdiatónica a 4-3-3-3-3-3-4.

[[image:Icositriphonic Gitar 1.JPG width="800" height="286"]]
La 'Icositritarra' de Tútim Dennsuul Wafiil.

[[image:Icositriphonic Bass.JPG width="863" height="326"]]
El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio [[http://www.reverbnation.com/23tdw39|aquí.]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;23 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="x23 Equitativas Divisiones por Octava"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span style="background-color: #ffffff;"&amp;gt;23 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y 9. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado como Icositrifonía.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:2:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png/382652336/442x442/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 442px; width: 442px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png/382652336/442x442/Icositrifon%C3%ADa%20superdiat%C3%B3nica.png" alt="Icositrifonía superdiatónica.png" title="Icositrifonía superdiatónica.png" style="height: 442px; width: 442px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:2 --&amp;gt;&amp;lt;br /&amp;gt;
Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:3:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Sqr%20std%20Strat%20LH%2023-EDD.png/382653164/800x283/Sqr%20std%20Strat%20LH%2023-EDD.png&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 283px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Sqr%20std%20Strat%20LH%2023-EDD.png/382653164/800x283/Sqr%20std%20Strat%20LH%2023-EDD.png" alt="Sqr std Strat LH 23-EDD.png" title="Sqr std Strat LH 23-EDD.png" style="height: 283px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:3 --&amp;gt;&amp;lt;br /&amp;gt;
Guitarra ilustrativa icositrifónica. Los puntitos reflejan la extrapolación de la escala superdiatónica a 4-3-3-3-3-3-4.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:4:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositriphonic%20Gitar%201.JPG/382654198/800x286/Icositriphonic%20Gitar%201.JPG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 286px; width: 800px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositriphonic%20Gitar%201.JPG/382654198/800x286/Icositriphonic%20Gitar%201.JPG" alt="Icositriphonic Gitar 1.JPG" title="Icositriphonic Gitar 1.JPG" style="height: 286px; width: 800px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:4 --&amp;gt;&amp;lt;br /&amp;gt;
La 'Icositritarra' de Tútim Dennsuul Wafiil.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextLocalImageRule:5:&amp;amp;lt;img src=&amp;amp;quot;/file/view/Icositriphonic%20Bass.JPG/382654562/863x326/Icositriphonic%20Bass.JPG&amp;amp;quot; alt=&amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;&amp;amp;quot; style=&amp;amp;quot;height: 326px; width: 863px;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;img src="/file/view/Icositriphonic%20Bass.JPG/382654562/863x326/Icositriphonic%20Bass.JPG" alt="Icositriphonic Bass.JPG" title="Icositriphonic Bass.JPG" style="height: 326px; width: 863px;" /&amp;gt;&amp;lt;!-- ws:end:WikiTextLocalImageRule:5 --&amp;gt;&amp;lt;br /&amp;gt;
El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio &amp;lt;a class="wiki_link_ext" href="http://www.reverbnation.com/23tdw39" rel="nofollow"&amp;gt;aquí.&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 256063314 - Original comment: **</comment>
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      <text bytes="1229" sha1="tg994fxx0as55ku2z4dy5gg43xll802" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 09:48:41 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
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      <text bytes="2225" sha1="3foa9tn3fm6tx0i5fdxktwjtgwo3m67" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;23 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/23). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;1, o sea, la escala superdiatónica queda distribuida como 3_3_3_1_3_3_3_3_1, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;'1', '2b'('9#'), '1#', '2', '3b', '2#', '3', '4b', '3#'('5b'), '4', '5', '6b'('4#'), '5#', '6', '7b', '6#', '7', '8b', '7#', '8', '9b', '8#'('1b') y '9'. Milagrosamente, Erich Moritz von Hornbostel dió la chispa inicial para indagar y haber hecho relaciones de los sistemas musicales ancestrales aún en uso en distintas zonas del Asia, África y Sudamérica, concluyendo que sus diferencias en cuanto a tamaños de intervalos entre una y otra cultura se integraban en resumen a un sistema de 23 notas por octava por el uso de la Quinta Soplada (actual Sexta, en notación Armodue), denominada por él mismo como un intervalo de aproximadamente 678 Cents. Tútim Dennsuul Wafiil es conocido por darle uso a este sistema musical denominado por él como Icositrifonía.&lt;/span&gt;

[[File:Icositrifonía_superdiatónica.png|alt=Icositrifonía superdiatónica.png|442x442px|Icositrifonía superdiatónica.png]]

Círculo de 23 notas denotando la escala superdiatónica ó mávila-9.

[[File:Sqr_std_Strat_LH_23-EDD.png|alt=Sqr std Strat LH 23-EDD.png|800x283px|Sqr std Strat LH 23-EDD.png]]

Guitarra ilustrativa icositrifónica. Los puntitos señalan la extrapolación de la escala superdiatónica ó mávila-9 a 4-3-3-3-3-3-4.

[[File:Icositriphonic_Gitar_1.JPG|alt=Icositriphonic Gitar 1.JPG|800x286px|Icositriphonic Gitar 1.JPG]]

La 'Icositritarra' de Tútim Dennsuul Wafiil.

[[File:Icositriphonic_Bass.JPG|alt=Icositriphonic Bass.JPG|863x326px|Icositriphonic Bass.JPG]]

El Bajo icositrifónico de Tútim Dennsuul Wafiil. Parte de su repertorio [http://www.reverbnation.com/23tdw39 aquí.]

[[Categoría:Edo]]</text>
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      <text bytes="393" sha1="6xu8f349v5fq1ej3qjcb2jotdqhel2r" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;24 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/24). Conocido por microtonalistas tradicionales como el Sistema Temperado Quartertonal.&lt;/span&gt;

Ver [http://es.wikipedia.org/wiki/Cuarto_de_tono Quartertonos]</text>
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      <comment>**Imported revision 382671372 - Original comment: **</comment>
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      <text bytes="2364" sha1="amawlovrfzs22614dlwtb9zwd961ena" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 01:24:35 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382671372&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;24 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/24). Conocido por microtonalistas tradicionales como el Sistema Temperado Quartertonal.&amp;lt;/span&amp;gt;

Ver [[http://es.wikipedia.org/wiki/Cuarto_de_tono|Quartertonos]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;24 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="x24 Equitativas Divisiones por Octava"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span style="background-color: #ffffff;"&amp;gt;24 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/24). Conocido por microtonalistas tradicionales como el Sistema Temperado Quartertonal.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Ver &amp;lt;a class="wiki_link_ext" href="http://es.wikipedia.org/wiki/Cuarto_de_tono" rel="nofollow"&amp;gt;Quartertonos&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 255884014 - Original comment: **</comment>
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      <text bytes="1414" sha1="b3buraqr9kpl075o7roastrbumalrux" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 20:52:47 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255884014&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;Ver [[http://es.wikipedia.org/wiki/Cuarto_de_tono|Quartitonos]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;24 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;Ver &amp;lt;a class="wiki_link_ext" href="http://es.wikipedia.org/wiki/Cuarto_de_tono" rel="nofollow"&amp;gt;Quartitonos&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 254790934 - Original comment: **</comment>
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      <text bytes="1414" sha1="ok93eg971p2aym2rcyoiwqtn3bou7fg" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:23:22 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254790934&lt;/tt&gt;.&lt;br&gt;
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The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;ver [[http://es.wikipedia.org/wiki/Cuarto_de_tono|Cuatro de Tono]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;24 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;ver &amp;lt;a class="wiki_link_ext" href="http://es.wikipedia.org/wiki/Cuarto_de_tono" rel="nofollow"&amp;gt;Cuatro de Tono&amp;lt;/a&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>Categoría</comment>
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      <text bytes="413" sha1="dxvt7n8liqrb99iz3jit7exvxuihw8h" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;24 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/24). Conocido por microtonalistas tradicionales como el Sistema Temperado Quartertonal.&lt;/span&gt;

Ver [http://es.wikipedia.org/wiki/Cuarto_de_tono Quartertonos]

[[Categoría:Edo]]</text>
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      <text bytes="775" sha1="7tg3wuti4i38r00hehjs54su5yecvnv" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;25 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/25). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;2, o sea, la escala superdiatónica queda distribuida como 3_3_3_2_3_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;'1', '1#', '2b', '2', '2#', '3b', '3', '3#', '4b', '4', '4#'('5b'), '5', '5#', '6b', '6', '6#', '7b', '7', '7#', '8b', '8', '8#', '9b', '9' y '9#'('1b').&lt;/span&gt;</text>
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      <contributor>
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      <comment>**Imported revision 382670834 - Original comment: **</comment>
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      <text bytes="3075" sha1="joqy2tcd05um4q13of7p0aiqxtxkfhw" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 01:21:41 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382670834&lt;/tt&gt;.&lt;br&gt;
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The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;25 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/25). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;2, o sea, la escala superdiatónica queda distribuida como 3_3_3_2_3_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;'1', '1#', '2b', '2', '2#', '3b', '3', '3#', '4b', '4', '4#'('5b'), '5', '5#', '6b', '6', '6#', '7b', '7', '7#', '8b', '8', '8#', '9b', '9' y '9#'('1b').&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;25 EDO&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="x25 Equitativas Divisiones por Octava"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span style="background-color: #ffffff;"&amp;gt;25 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/25). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;2, o sea, la escala superdiatónica queda distribuida como 3_3_3_2_3_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
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      <comment>**Imported revision 382658334 - Original comment: **</comment>
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      <text bytes="3199" sha1="g203jue5n984qr3tdlnqe7xvdzkiqsc" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 00:16:57 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;25 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/25). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;2, o sea, la escala superdiatónica queda distribuida como 3_3_3_2_3_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;
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&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/25). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;2, o sea, la escala superdiatónica queda distribuida como 3_3_3_2_3_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
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      <comment>**Imported revision 256063440 - Original comment: **</comment>
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      <text bytes="1229" sha1="rqerefrk5ayk6r54ly6ew3q2zdw2hzk" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
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      <text bytes="795" sha1="gcm24l5xpoxwdiyhdvt3fjjsboadu42" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;25 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/25). Ha de amoldar perfectamente la notación Armodue, a modo de Terciotonos en relación de 3;2, o sea, la escala superdiatónica queda distribuida como 3_3_3_2_3_3_3_3_2, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 1/3 de tono cada uno, haciendo que la escala cromática quede graficada así:&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;'1', '1#', '2b', '2', '2#', '3b', '3', '3#', '4b', '4', '4#'('5b'), '5', '5#', '6b', '6', '6#', '7b', '7', '7#', '8b', '8', '8#', '9b', '9' y '9#'('1b').&lt;/span&gt;

[[Categoría:Edo]]</text>
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&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/31). Ha de amoldar perfectamente la notación tradicional, a modo de Quintotonos en relación de 5;3, o sea, la escala diatónica queda distribuida como 5_5_3_5_5_5_3, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/5 de tono cada uno, añadiendo además 2 alteraciones llamados Semisostenido (t, por ahora) y Semibemol (v, por ahora), haciendo que la escala cromática quede graficada así: C, Ct, C#, Db, Dv, D, Dt, D#, Eb, Ev, E, Fb, E#, F, Ft, F#, Gb, Gv, G, Gt, G#, Ab, Av, A, At, A#, Bb, Bv, B, Cb y B#. Este sistema es particularmente el sistema mesotónico de 1/4 de comma de Christiaan Huygens. Existe una fundación en Amsterdam, Holanda, llamada Huygens-Fokker Foundation en la cual sugieren enfáticamente de dar implemento a este sistema equitativo de 31 notas, ya que además de mejorar las aproximaciones a intervalos armónicos de límites 5, 7 y 11, amplía el espectro de acordes funcionalmente armónicos, y por lo tanto, un mejor provecho de la dinámica acústica. Adriaan Fokker es su precursor y esta es su [http://www.huygens-fokker.org/index_en.html página].&lt;/span&gt;</text>
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/31). Ha de amoldar perfectamente la notación tradicional, a modo de Quintotonos en relación de 5;3, o sea, la escala diatónica queda distribuida como 5_5_3_5_5_5_3, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/5 de tono cada uno, añadiendo además 2 alteraciones llamados Semisostenido (t, por ahora) y Semibemol (v, por ahora), haciendo que la escala cromática quede graficada así: C, Ct, C#, Db, Dv, D, Dt, D#, Eb, Ev, E, Fb, E#, F, Ft, F#, Gb, Gv, G, Gt, G#, Ab, Av, A, At, A#, Bb, Bv, B, Cb y B#. Este sistema es particularmente el sistema mesotónico de 1/4 de comma de Christiaan Huygens. Existe una fundación en Amsterdam, Holanda, llamada Huygens-Fokker Foundation en la cual sugieren enfáticamente de dar implemento a este sistema equitativo de 31 notas, ya que además de mejorar las aproximaciones a intervalos armónicos de límites 5, 7 y 11, amplía el espectro de acordes funcionalmente armónicos, y por lo tanto, un mejor provecho de la dinámica acústica. Adriaan Fokker es su precursor y esta es su [[http://www.huygens-fokker.org/index_en.html|página]].&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/31). Ha de amoldar perfectamente la notación tradicional, a modo de Quintotonos en relación de 5;3, o sea, la escala diatónica queda distribuida como 5_5_3_5_5_5_3, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/5 de tono cada uno, añadiendo además 2 alteraciones llamados Semisostenido (t, por ahora) y Semibemol (v, por ahora), haciendo que la escala cromática quede graficada así: C, Ct, C#, Db, Dv, D, Dt, D#, Eb, Ev, E, Fb, E#, F, Ft, F#, Gb, Gv, G, Gt, G#, Ab, Av, A, At, A#, Bb, Bv, B, Cb y B#. Este sistema es particularmente el sistema mesotónico de 1/4 de comma de Christiaan Huygens. Existe una fundación en Amsterdam, Holanda, llamada Huygens-Fokker Foundation en la cual sugieren enfáticamente de dar implemento a este sistema equitativo de 31 notas, ya que además de mejorar las aproximaciones a intervalos armónicos de límites 5, 7 y 11, amplía el espectro de acordes funcionalmente armónicos, y por lo tanto, un mejor provecho de la dinámica acústica. Adriaan Fokker es su precursor y esta es su &amp;lt;a class="wiki_link_ext" href="http://www.huygens-fokker.org/index_en.html" rel="nofollow"&amp;gt;página&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/31). Ha de amoldar perfectamente la notación tradicional, a modo de Quintotonos en relación de 5;3, o sea, la escala diatónica queda distribuida como 5_5_3_5_5_5_3, haciendo que sostenidos y bemoles sean radicalmente distintos por diferencia de 2/5 de tono cada uno, añadiendo además 2 alteraciones llamados Semisostenido (t, por ahora) y Semibemol (v, por ahora), haciendo que la escala cromática quede graficada así: C, Ct, C#, Db, Dv, D, Dt, D#, Eb, Ev, E, Fb, E#, F, Ft, F#, Gb, Gv, G, Gt, G#, Ab, Av, A, At, A#, Bb, Bv, B, Cb y B#. Este sistema es particularmente el sistema mesotónico de 1/4 de comma de Christiaan Huygens. Existe una fundación en Amsterdam, Holanda, llamada Huygens-Fokker Foundation en la cual sugieren enfáticamente de dar implemento a este sistema equitativo de 31 notas, ya que además de mejorar las aproximaciones a intervalos armónicos de límites 5, 7 y 11, amplía el espectro de acordes funcionalmente armónicos, y por lo tanto, un mejor provecho de la dinámica acústica. Adriaan Fokker es su precursor y esta es su [http://www.huygens-fokker.org/index_en.html página].&lt;/span&gt;

[[Categoría:Edo]]</text>
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Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/5).</text>
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Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/5).&lt;/pre&gt;&lt;/div&gt;
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Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/5).&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/5)..&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <contributor>
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        <id>6</id>
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      <comment>+typo, +interwiki</comment>
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      <text bytes="204" sha1="b0pxcvgrv3y6h8zbr61guc84fs1qn5s" xml:space="preserve">'''5 Equitativas Divisiones por Octava'''

Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/5).

[[Categoría:Edo]]

&lt;!-- interwiki --&gt;
[[en:5edo]]</text>
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      <contributor>
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        <id>6</id>
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      <minor/>
      <comment>replaced interwiki solution</comment>
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| en = 5edo 
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'''5 Equitativas Divisiones por Octava'''

Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/5).

[[Categoría:Edo]]</text>
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        <id>6</id>
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      <minor/>
      <comment>+de</comment>
      <origin>329</origin>
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| ja = 5平均律
}}
'''5 Equitativas Divisiones por Octava'''

Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/5).

[[Categoría:Edo]]</text>
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      <text bytes="246" sha1="on8zeqdgzpt1cie8vzsl3n6pmf3oyno" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;55 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/55).&lt;/span&gt;</text>
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      <comment>**Imported revision 383002780 - Original comment: **</comment>
      <origin>68</origin>
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      <text bytes="1983" sha1="0f1esbfpf69atanl2y4ujvy5339e3rk" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 15:55:24 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/55).&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/55).&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 256063530 - Original comment: **</comment>
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      <text bytes="1229" sha1="7njiiwqce223iu0ke3fqvey4ai6sss4" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 09:49:07 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;...&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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        <id>12</id>
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      <comment>Categoría</comment>
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      <text bytes="266" sha1="i5mtcpd0w7yeg915zzoyz2w5b849sk4" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;55 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/55).&lt;/span&gt;

[[Categoría:Edo]]</text>
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  <page>
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      <id>13</id>
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      <text bytes="278" sha1="nhbqxfjafotz01rw2dw3fhzh56dv91i" xml:space="preserve">=6 Equitativas Divisiones por Octava=

E&lt;span style=""&gt;s también llamado&lt;/span&gt; la [http://es.wikipedia.org/wiki/Escala_de_tonos_completos Escala de tonos enteros]. No es [[xenarmónico|xenarmónico]], porque está&lt;span style=""&gt; contenida dentro del [[12_EDO|12 EDO]]. &lt;/span&gt;</text>
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        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
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      <comment>**Imported revision 382637816 - Original comment: **</comment>
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      <text bytes="2188" sha1="gd73rdehsull0u2v1z3r590np6lclqv" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-14 22:59:55 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=6 Equitativas Divisiones por Octava= 

E&amp;lt;span class="hps"&amp;gt;s también llamado&amp;lt;/span&amp;gt; la [[http://es.wikipedia.org/wiki/Escala_de_tonos_completos|Escala de tonos enteros]]. No es [[xenarmónico]], porque está&amp;lt;span class="hps"&amp;gt; contenida dentro del [[12 EDO]]. &amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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E&amp;lt;span class="hps"&amp;gt;s también llamado&amp;lt;/span&amp;gt; la &amp;lt;a class="wiki_link_ext" href="http://es.wikipedia.org/wiki/Escala_de_tonos_completos" rel="nofollow"&amp;gt;Escala de tonos enteros&amp;lt;/a&amp;gt;. No es &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónico&amp;lt;/a&amp;gt;, porque está&amp;lt;span class="hps"&amp;gt; contenida dentro del &amp;lt;a class="wiki_link" href="/12%20EDO"&amp;gt;12 EDO&amp;lt;/a&amp;gt;. &amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
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      <comment>**Imported revision 255882956 - Original comment: **</comment>
      <origin>71</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1915" sha1="8cn098dbrfbv4mx07p2jrldimz5yj1b" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 20:49:33 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255882956&lt;/tt&gt;.&lt;br&gt;
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The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;El 6-EDO &amp;lt;span class="hps"&amp;gt;es también llamado&amp;lt;/span&amp;gt; la [[http://es.wikipedia.org/wiki/Escala_de_tonos_completos|Escala de tonos enteros]]. No es [[xenarmónico]], porque está&amp;lt;span class="hps"&amp;gt; contenida dentro del [[12 EDO]]. &amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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    <revision>
      <id>72</id>
      <timestamp>2011-09-18T12:37:32Z</timestamp>
      <contributor>
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        <id>0</id>
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      <comment>**Imported revision 255292496 - Original comment: **</comment>
      <origin>72</origin>
      <model>wikitext</model>
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      <text bytes="1883" sha1="ijzrqb8soj11zd65kb0fo9kj4c5xh2d" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 12:37:32 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;6 EDO &amp;lt;span class="hps"&amp;gt;es también llamado&amp;lt;/span&amp;gt; la [[http://es.wikipedia.org/wiki/Escala_de_tonos_completos|Escala de tonos completos]]. No es [[xenarmónico]] porque es&amp;lt;span class="hps"&amp;gt; contenida en [[12 EDO]]. &amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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    <revision>
      <id>256</id>
      <parentid>13</parentid>
      <timestamp>2018-10-11T10:27:44Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
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      <comment>+interwiki</comment>
      <origin>256</origin>
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      <format>text/x-wiki</format>
      <text bytes="270" sha1="8ps2wozq3x9m1a80yzx3k11h7eale32" xml:space="preserve">'''6 Equitativas Divisiones por Octava'''

Es también llamado la [http://es.wikipedia.org/wiki/Escala_de_tonos_completos Escala de tonos enteros]. No es [[xenarmónico]], porque está contenida dentro del [[12 EDO]]. 

[[Categoría:Edo]]

&lt;!-- interwiki --&gt;
[[en:6edo]]</text>
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      <timestamp>2018-10-14T22:31:11Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>replaced interwiki solution</comment>
      <origin>284</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="304" sha1="fywqcjtrgn3hhaohzufvn8lyhbia1jn" xml:space="preserve">{{interwiki
| de = 
| en = 6edo
| es = 6 EDO
| ja = 6平均律
}}
'''6 Equitativas Divisiones por Octava'''

Es también llamado la [http://es.wikipedia.org/wiki/Escala_de_tonos_completos Escala de tonos enteros]. No es [[xenarmónico]], porque está contenida dentro del [[12 EDO]]. 

[[Categoría:Edo]]</text>
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      <timestamp>2018-07-17T00:00:00Z</timestamp>
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        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
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      <text bytes="244" sha1="52zkuqjhlxn57fsdnl2z29yzw0m481o" xml:space="preserve">=&lt;span style="background-color: #ffffff;"&gt;7 Equitativas Divisiones por Octava&lt;/span&gt;=

&lt;span style="background-color: #ffffff;"&gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/7).&lt;/span&gt;</text>
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        <id>0</id>
      </contributor>
      <comment>**Imported revision 382670400 - Original comment: **</comment>
      <origin>73</origin>
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      <text bytes="1977" sha1="3dk3ctf82zmap3oalhpfd3phql2vp0q" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/7).&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
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&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/7).&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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        <id>0</id>
      </contributor>
      <comment>**Imported revision 382638082 - Original comment: **</comment>
      <origin>74</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1983" sha1="nl5ea0gafr9k7dw171fyz2t8txpdkjz" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-14 23:00:44 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382638082&lt;/tt&gt;.&lt;br&gt;
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The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;=&amp;lt;span style="background-color: #ffffff;"&amp;gt;7 Equitativas Divisiones por Octava&amp;lt;/span&amp;gt;= 

&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/7)..&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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 &amp;lt;br /&amp;gt;
&amp;lt;span style="background-color: #ffffff;"&amp;gt;Es el uso de un sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/7)..&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <timestamp>2011-09-18T12:33:30Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255291654 - Original comment: **</comment>
      <origin>75</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1228" sha1="4zs6mbj4d2nl97le29xxfijhw4whl59" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 12:33:30 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255291654&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;...&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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    <revision>
      <id>257</id>
      <parentid>14</parentid>
      <timestamp>2018-10-11T10:28:09Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>+typo, +interwiki en</comment>
      <origin>257</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="204" sha1="qayxtmno31nx4gjek4lafv219acd5a6" xml:space="preserve">'''7 Equitativas Divisiones por Octava'''

Es el uso del sistema musical basado en la división geométrica del espectro sonoro en la razón de 2^(1/7).

[[Categoría:Edo]]

&lt;!-- interwiki --&gt;
[[en:7edo]]</text>
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  <page>
    <title>EDOs</title>
    <ns>0</ns>
    <id>15</id>
    <revision>
      <id>15</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
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      <origin>15</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2231" sha1="nz8p8zq8l7ducqjgaqb0l9ziepsnmai" xml:space="preserve">La sigla '''EDO''' &lt;span style=""&gt;significa &lt;/span&gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&lt;span style=""&gt; de la [[octava|Octava]].&lt;/span&gt;

==&lt;span style=""&gt;'''¿Qué son los EDOs?''' &lt;/span&gt;==
Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.

=Paginas para cada EDOs=

{| class="wikitable"
|-
| | 1
| | 2
| | 3
| | 4
| | [[5_EDO|5]]
| | [[6_EDO|6]]
| | [[7_EDO|7]]
| | 8
| | 9
| | 10
| | 11
| | [[12_EDO|12]]
| | 13
| | 14
| | 15
| | [[16_EDO|16]]
| | [[17_EDO|17]]
| | 18
| | [[19_EDO|19]]
| | [[20_EDO|20]]
| | 21
| | 22
|-
| | [[23_EDO|23]]
| | [[24_EDO|24]]
| | [[25_EDO|25]]
| | 26
| | 27
| | 28
| | 29
| | 30
| | [[31_EDO|31]]
| | 32
| | 33
| | 34
| | 35
| | 36
| | 37
| | 38
| | 39
| | 40
| | 41
| | 42
| | 43
| | 44
|-
| | 45
| | 46
| | 47
| | 48
| | 49
| | 50
| | 51
| | 52
| | 53
| | 54
| | [[55_EDO|55]]
| | 56
| | 57
| | 58
| | 59
| | 60
| | 61
| | 62
| | 63
| | 64
| | 65
| | 66
|-
| | 67
| | 68
| | 69
| | 70
| | 71
| | 72
| | 73
| | 74
| | 75
| | 76
| | 77
| | 78
| | 79
| | 80
| | 81
| | 82
| | 83
| | 84
| | 85
| | 86
| | 87
| | 88
|-
| | 89
| | 90
| | 91
| | 92
| | 93
| | 94
| | 95
| | 96
| | 97
| | 98
| | 99
| | 100
| | 101
| | 102
| | 103
| | 104
| | 105
| | 106
| | 107
| | 108
| | 109
| | 110
|-
| | 111
| | 112
| | 113
| | 114
| | 115
| | 116
| | 117
| | 118
| | 119
| | 120
| | 121
| | 122
| | 123
| | 124
| | 125
| | 126
| | 127
| | 128
| | 129
| | 130
| | 131
| | 132
|-
| | 133
| | 134
| | 135
| | 136
| | 137
| | 138
| | 139
| | 140
| | 141
| | 142
| | 143
| | 144
| | 145
| | 146
| | 147
| | 148
| | 149
| | 150
| | 151
| | 152
| | 153
| | 154
|}
[[Category:edo]]
[[Category:tet]]</text>
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      <id>76</id>
      <timestamp>2012-11-17T00:56:16Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 383488058 - Original comment: **</comment>
      <origin>76</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="12715" sha1="hth5pmtpt5g4bo6o1kc93dkpsex91nk" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-17 00:56:16 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;383488058&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;La sigla **EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la [[octava|Octava]].&amp;lt;/span&amp;gt;

==&amp;lt;span class="hps"&amp;gt;**¿Qué son los EDOs?** &amp;lt;/span&amp;gt;== 
Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.


=Paginas para cada EDOs= 

|| 1 || 2 || 3 || 4 || [[5 EDO|5]] || [[6 EDO|6]] || [[7 EDO|7]] || 8 || 9 || 10 || 11 || [[12 EDO|12]] || 13 || 14 || 15 || [[16 EDO|16]] || [[17 EDO|17]] || 18 || [[19 EDO|19]] || [[20 EDO|20]] || 21 || 22 ||
|| [[23 EDO|23]] || [[24 EDO|24]] || [[25 EDO|25]] || 26 || 27 || 28 || 29 || 30 || [[31 EDO|31]] || 32 || 33 || 34 || 35 || 36 || 37 || 38 || 39 || 40 || 41 || 42 || 43 || 44 ||
|| 45 || 46 || 47 || 48 || 49 || 50 || 51 || 52 || 53 || 54 || [[55 EDO|55]] || 56 || 57 || 58 || 59 || 60 || 61 || 62 || 63 || 64 || 65 || 66 ||
|| 67 || 68 || 69 || 70 || 71 || 72 || 73 || 74 || 75 || 76 || 77 || 78 || 79 || 80 || 81 || 82 || 83 || 84 || 85 || 86 || 87 || 88 ||
|| 89 || 90 || 91 || 92 || 93 || 94 || 95 || 96 || 97 || 98 || 99 || 100 || 101 || 102 || 103 || 104 || 105 || 106 || 107 || 108 || 109 || 110 ||
|| 111 || 112 || 113 || 114 || 115 || 116 || 117 || 118 || 119 || 120 || 121 || 122 || 123 || 124 || 125 || 126 || 127 || 128 || 129 || 130 || 131 || 132 ||
|| 133 || 134 || 135 || 136 || 137 || 138 || 139 || 140 || 141 || 142 || 143 || 144 || 145 || 146 || 147 || 148 || 149 || 150 || 151 || 152 || 153 || 154 ||&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;La sigla &amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;&amp;amp;quot;Equal Divisions of the Octave&amp;amp;quot; en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la &amp;lt;a class="wiki_link" href="/octava"&amp;gt;Octava&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-¿Qué son los EDOs?"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;¿Qué son los EDOs?&amp;lt;/strong&amp;gt; &amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc1"&amp;gt;&amp;lt;a name="Paginas para cada EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;Paginas para cada EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


&amp;lt;table class="wiki_table"&amp;gt;
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        &amp;lt;td&amp;gt;1&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;4&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/5%20EDO"&amp;gt;5&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/6%20EDO"&amp;gt;6&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
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&amp;lt;/td&amp;gt;
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      <sha1>hth5pmtpt5g4bo6o1kc93dkpsex91nk</sha1>
    </revision>
    <revision>
      <id>77</id>
      <timestamp>2012-11-14T22:55:23Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 382636444 - Original comment: **</comment>
      <origin>77</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="11405" sha1="ilg4d6eqzg7no5qitlfh45wk041inya" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-14 22:55:23 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382636444&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;La sigla **EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la [[octava|Octava]].&amp;lt;/span&amp;gt;

==&amp;lt;span class="hps"&amp;gt;**¿Qué son los EDOs?** &amp;lt;/span&amp;gt;== 
Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.


=Paginas para cada EDOs= 

|| 1 || 2 || 3 || 4 || [[5 EDO|5]] || [[6 EDO|6]] || [[7 EDO|7]] || 8 || 9 || 10 || 11 || [[12 EDO|12]] || 13 || 14 || 15 || [[16 EDO|16]] || [[17 EDO|17]] || 18 || [[19 EDO|19]] || [[20 EDO|20]] || 21 || 22 ||
|| [[23 EDO|23]] || [[24 EDO|24]] || [[25 EDO|25]] || 26 || 27 || 28 || 29 || 30 || [[31 EDO|31]] || 32 || 33 || 34 || 35 || 36 || 37 || 38 || 39 || 40 || 41 || 42 || 43 || 44 ||
|| 45 || 46 || 47 || 48 || 49 || 50 || 51 || 52 || 53 || 54 || [[55 EDO|55]] || 56 || 57 || 58 || 59 || 60 || 61 || 62 || 63 || 64 || 65 || 66 ||
|| 67 || 68 || 69 || 70 || 71 || 72 || 73 || 74 || 75 || 76 || 77 || 78 || 79 || 80 || 81 || 82 || 83 || 84 || 85 || 86 || 87 || 88 ||
|| 89 || 90 || 91 || 92 || 93 || 94 || 95 || 96 || 97 || 98 || 99 || 100 || 101 || 102 || 103 || 104 || 105 || 106 || 107 || 108 || 109 || 110 ||
||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;La sigla &amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;&amp;amp;quot;Equal Divisions of the Octave&amp;amp;quot; en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la &amp;lt;a class="wiki_link" href="/octava"&amp;gt;Octava&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-¿Qué son los EDOs?"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;¿Qué son los EDOs?&amp;lt;/strong&amp;gt; &amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc1"&amp;gt;&amp;lt;a name="Paginas para cada EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;Paginas para cada EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


&amp;lt;table class="wiki_table"&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>ilg4d6eqzg7no5qitlfh45wk041inya</sha1>
    </revision>
    <revision>
      <id>78</id>
      <timestamp>2012-11-14T22:51:29Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 382635230 - Original comment: **</comment>
      <origin>78</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="14659" sha1="mynph0clgnt3fu09f2e4zgwiagej3vx" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-14 22:51:29 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382635230&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;La sigla **EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la [[octava|Octava]].&amp;lt;/span&amp;gt;

==&amp;lt;span class="hps"&amp;gt;**¿Qué son los EDOs?** &amp;lt;/span&amp;gt;== 
Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.


=Paginas para cada EDOs= 

|| [[1-EDO|1]] || [[2-EDO|2]] || [[3-EDO|3]] || [[4-EDO|4]] || [[5 EDO|5]] || [[6 EDO|6]] || [[7 EDO|7]] || [[8-EDO|8]] || [[9-EDO|9]] || [[10-EDO|10]] || [[11-EDO|11]] || [[12 EDO|12]] || [[13-EDO|13]] || [[14-EDO|14]] || [[15-EDO|15]] || [[16 EDO|16]] || [[17 EDO|17]] || [[18-EDO|18]] || [[19-EDO|19]] || [[20-EDO|20]] || [[21-EDO|21]] || [[22-EDO|22]] ||
|| [[23 EDO|23]] || [[24 EDO|24]] || [[25-EDO|25]] || [[26-EDO|26]] || [[27-EDO|27]] || [[28-EDO|28]] || [[29-EDO|29]] || [[30-EDO|30]] || [[31-EDO|31]] || [[32-EDO|32]] || [[33-EDO|33]] || [[34-EDO|34]] || [[35-EDO|35]] || [[36-EDO|36]] || [[37-EDO|37]] || [[38-EDO|38]] || [[39-EDO|39]] || [[40-EDO|40]] || [[41-EDO|41]] || [[42-EDO|42]] || [[43-EDO|43]] || 44 ||
|| [[45-EDO|45]] || [[46-EDO|46]] || [[47-EDO|47]] || [[48-EDO|48]] || [[49-EDO|49]] || [[50-EDO|50]] || [[51-EDO|51]] || [[52-EDO|52]] || [[53-EDO|53]] || [[54-EDO|54]] || [[55-EDO|55]] || [[56-EDO|56]] || [[57-EDO|57]] || [[58-EDO|58]] || [[59-EDO|59]] || [[60-EDO|60]] || [[61-EDO|61]] || [[62-EDO|62]] || [[63-EDO|63]] || [[64-EDO|64]] || [[65-EDO|65]] || [[66-EDO|66]] ||
|| 67 || 68 || 69 || 70 || 71 || 72 || 73 || 74 || 75 || 76 || 77 || 78 || 79 || 80 || 81 || 82 || 83 || 84 || 85 || 86 || 87 || 88 ||
|| 89 || 90 || 91 || 92 || 93 || 94 || 95 || 96 || 97 || 98 || 99 || 100 || 101 || 102 || 103 || 104 || 105 || 106 || 107 || 108 || 109 || 110 ||
||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;La sigla &amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;&amp;amp;quot;Equal Divisions of the Octave&amp;amp;quot; en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la &amp;lt;a class="wiki_link" href="/octava"&amp;gt;Octava&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-¿Qué son los EDOs?"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;¿Qué son los EDOs?&amp;lt;/strong&amp;gt; &amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc1"&amp;gt;&amp;lt;a name="Paginas para cada EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;Paginas para cada EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


&amp;lt;table class="wiki_table"&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/1-EDO"&amp;gt;1&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/2-EDO"&amp;gt;2&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/3-EDO"&amp;gt;3&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/4-EDO"&amp;gt;4&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/5%20EDO"&amp;gt;5&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/6%20EDO"&amp;gt;6&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/7%20EDO"&amp;gt;7&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/8-EDO"&amp;gt;8&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/9-EDO"&amp;gt;9&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/10-EDO"&amp;gt;10&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/11-EDO"&amp;gt;11&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/12%20EDO"&amp;gt;12&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/13-EDO"&amp;gt;13&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/14-EDO"&amp;gt;14&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/15-EDO"&amp;gt;15&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/16%20EDO"&amp;gt;16&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/18-EDO"&amp;gt;18&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/19-EDO"&amp;gt;19&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/20-EDO"&amp;gt;20&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/21-EDO"&amp;gt;21&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/22-EDO"&amp;gt;22&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/23%20EDO"&amp;gt;23&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/24%20EDO"&amp;gt;24&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/25-EDO"&amp;gt;25&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/26-EDO"&amp;gt;26&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/27-EDO"&amp;gt;27&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/28-EDO"&amp;gt;28&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/29-EDO"&amp;gt;29&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/30-EDO"&amp;gt;30&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/31-EDO"&amp;gt;31&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/32-EDO"&amp;gt;32&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/33-EDO"&amp;gt;33&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/34-EDO"&amp;gt;34&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/35-EDO"&amp;gt;35&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/36-EDO"&amp;gt;36&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/37-EDO"&amp;gt;37&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/38-EDO"&amp;gt;38&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/39-EDO"&amp;gt;39&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/40-EDO"&amp;gt;40&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/41-EDO"&amp;gt;41&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/42-EDO"&amp;gt;42&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/43-EDO"&amp;gt;43&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;44&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/45-EDO"&amp;gt;45&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/46-EDO"&amp;gt;46&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/47-EDO"&amp;gt;47&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/48-EDO"&amp;gt;48&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/49-EDO"&amp;gt;49&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/50-EDO"&amp;gt;50&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/51-EDO"&amp;gt;51&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/52-EDO"&amp;gt;52&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/53-EDO"&amp;gt;53&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/54-EDO"&amp;gt;54&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/55-EDO"&amp;gt;55&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/56-EDO"&amp;gt;56&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/57-EDO"&amp;gt;57&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/58-EDO"&amp;gt;58&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/59-EDO"&amp;gt;59&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/60-EDO"&amp;gt;60&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/61-EDO"&amp;gt;61&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/62-EDO"&amp;gt;62&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/63-EDO"&amp;gt;63&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/64-EDO"&amp;gt;64&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/65-EDO"&amp;gt;65&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/66-EDO"&amp;gt;66&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;67&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;68&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;69&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;70&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;71&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;72&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;73&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;74&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;75&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;76&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;77&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;78&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;79&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;80&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;81&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;82&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;83&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;84&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;85&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;86&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;87&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;88&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;89&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;90&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;91&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;92&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;93&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;94&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;95&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;96&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;97&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;98&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;99&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;100&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;101&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;102&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;103&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;104&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;105&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>mynph0clgnt3fu09f2e4zgwiagej3vx</sha1>
    </revision>
    <revision>
      <id>79</id>
      <timestamp>2012-11-14T22:44:01Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 382632644 - Original comment: **</comment>
      <origin>79</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="14657" sha1="kvd7shv30lffxp09j6m3m2qsy47v7i1" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-14 22:44:01 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382632644&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;La sigla **EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la [[octava|Octava]].&amp;lt;/span&amp;gt;

==&amp;lt;span class="hps"&amp;gt;**¿Qué son los EDOs?** &amp;lt;/span&amp;gt;== 
Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.


=Paginas para cada EDOs= 

|| [[1-EDO|1]] || [[2-EDO|2]] || [[3-EDO|3]] || [[4-EDO|4]] || [[5 EDO|5]] || [[6 EDO|6]] || [[7 EDO|7]] || [[8-EDO|8]] || [[9-EDO|9]] || [[10-EDO|10]] || [[11-EDO|11]] || [[12 EDO|12]] || [[13-EDO|13]] || [[14-EDO|14]] || [[15-EDO|15]] || [[16 EDO|16]] || [[17 EDO|17]] || [[18-EDO|18]] || [[19-EDO|19]] || [[20-EDO|20]] || [[21-EDO|21]] || [[22-EDO|22]] ||
|| [[23-EDO|23]] || [[24 EDO|24]] || [[25-EDO|25]] || [[26-EDO|26]] || [[27-EDO|27]] || [[28-EDO|28]] || [[29-EDO|29]] || [[30-EDO|30]] || [[31-EDO|31]] || [[32-EDO|32]] || [[33-EDO|33]] || [[34-EDO|34]] || [[35-EDO|35]] || [[36-EDO|36]] || [[37-EDO|37]] || [[38-EDO|38]] || [[39-EDO|39]] || [[40-EDO|40]] || [[41-EDO|41]] || [[42-EDO|42]] || [[43-EDO|43]] || 44 ||
|| [[45-EDO|45]] || [[46-EDO|46]] || [[47-EDO|47]] || [[48-EDO|48]] || [[49-EDO|49]] || [[50-EDO|50]] || [[51-EDO|51]] || [[52-EDO|52]] || [[53-EDO|53]] || [[54-EDO|54]] || [[55-EDO|55]] || [[56-EDO|56]] || [[57-EDO|57]] || [[58-EDO|58]] || [[59-EDO|59]] || [[60-EDO|60]] || [[61-EDO|61]] || [[62-EDO|62]] || [[63-EDO|63]] || [[64-EDO|64]] || [[65-EDO|65]] || [[66-EDO|66]] ||
|| 67 || 68 || 69 || 70 || 71 || 72 || 73 || 74 || 75 || 76 || 77 || 78 || 79 || 80 || 81 || 82 || 83 || 84 || 85 || 86 || 87 || 88 ||
|| 89 || 90 || 91 || 92 || 93 || 94 || 95 || 96 || 97 || 98 || 99 || 100 || 101 || 102 || 103 || 104 || 105 || 106 || 107 || 108 || 109 || 110 ||
||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;La sigla &amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;&amp;amp;quot;Equal Divisions of the Octave&amp;amp;quot; en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la &amp;lt;a class="wiki_link" href="/octava"&amp;gt;Octava&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-¿Qué son los EDOs?"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;¿Qué son los EDOs?&amp;lt;/strong&amp;gt; &amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc1"&amp;gt;&amp;lt;a name="Paginas para cada EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;Paginas para cada EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


&amp;lt;table class="wiki_table"&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/1-EDO"&amp;gt;1&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/2-EDO"&amp;gt;2&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/3-EDO"&amp;gt;3&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/4-EDO"&amp;gt;4&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/5%20EDO"&amp;gt;5&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/6%20EDO"&amp;gt;6&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/7%20EDO"&amp;gt;7&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/8-EDO"&amp;gt;8&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/9-EDO"&amp;gt;9&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/10-EDO"&amp;gt;10&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/11-EDO"&amp;gt;11&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/12%20EDO"&amp;gt;12&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/13-EDO"&amp;gt;13&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/14-EDO"&amp;gt;14&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/15-EDO"&amp;gt;15&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/16%20EDO"&amp;gt;16&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/18-EDO"&amp;gt;18&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/19-EDO"&amp;gt;19&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/20-EDO"&amp;gt;20&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/21-EDO"&amp;gt;21&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/22-EDO"&amp;gt;22&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/23-EDO"&amp;gt;23&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/24%20EDO"&amp;gt;24&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/25-EDO"&amp;gt;25&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/26-EDO"&amp;gt;26&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/27-EDO"&amp;gt;27&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/28-EDO"&amp;gt;28&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/29-EDO"&amp;gt;29&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/30-EDO"&amp;gt;30&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/31-EDO"&amp;gt;31&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/32-EDO"&amp;gt;32&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/33-EDO"&amp;gt;33&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/34-EDO"&amp;gt;34&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/35-EDO"&amp;gt;35&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/36-EDO"&amp;gt;36&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/37-EDO"&amp;gt;37&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/38-EDO"&amp;gt;38&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/39-EDO"&amp;gt;39&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/40-EDO"&amp;gt;40&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/41-EDO"&amp;gt;41&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/42-EDO"&amp;gt;42&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/43-EDO"&amp;gt;43&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;44&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/45-EDO"&amp;gt;45&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/46-EDO"&amp;gt;46&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/47-EDO"&amp;gt;47&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/48-EDO"&amp;gt;48&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/49-EDO"&amp;gt;49&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/50-EDO"&amp;gt;50&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/51-EDO"&amp;gt;51&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/52-EDO"&amp;gt;52&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/53-EDO"&amp;gt;53&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/54-EDO"&amp;gt;54&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/55-EDO"&amp;gt;55&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/56-EDO"&amp;gt;56&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/57-EDO"&amp;gt;57&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/58-EDO"&amp;gt;58&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/59-EDO"&amp;gt;59&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/60-EDO"&amp;gt;60&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/61-EDO"&amp;gt;61&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/62-EDO"&amp;gt;62&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/63-EDO"&amp;gt;63&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/64-EDO"&amp;gt;64&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/65-EDO"&amp;gt;65&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/66-EDO"&amp;gt;66&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>kvd7shv30lffxp09j6m3m2qsy47v7i1</sha1>
    </revision>
    <revision>
      <id>80</id>
      <timestamp>2011-09-19T21:05:14Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255888214 - Original comment: **</comment>
      <origin>80</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="15125" sha1="oqv5q9qjl6drw1us9i3qnedkam94t93" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 21:05:14 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255888214&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;La sigla **EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la [[octava|Octava]].&amp;lt;/span&amp;gt;

==&amp;lt;span class="hps"&amp;gt;**¿Qué son los EDOs?** &amp;lt;/span&amp;gt;== 
Un EDO se define como una cantidad determinada de pasos que se repiten a cada Duplo (Ratio de 2/1), prefiriendo a veces la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, donde 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.


=Paginas para cada EDOs= 

|| [[1-EDO]] || [[2-EDO]] || [[3-EDO]] || [[4-EDO]] || [[5 EDO|5-EDO]] || [[6 EDO|6-EDO]] || [[7 EDO|7-EDO]] || [[8-EDO]] || [[9-EDO]] || [[10-EDO]] || [[11-EDO]] || [[12 EDO|12-EDO]] || [[13-EDO]] || [[14-EDO]] || [[15-EDO]] || [[16 EDO|16-EDO]] || [[17 EDO|17-EDO]] || [[18-EDO]] || [[19-EDO]] || [[20-EDO]] || [[21-EDO]] || [[22-EDO]] ||
|| [[23-EDO]] || [[24 EDO|24-EDO]] || [[25-EDO]] || [[26-EDO]] || [[27-EDO]] || [[28-EDO]] || [[29-EDO]] || [[30-EDO]] || [[31-EDO]] || [[32-EDO]] || [[33-EDO]] || [[34-EDO]] || [[35-EDO]] || [[36-EDO]] || [[37-EDO]] || [[38-EDO]] || [[39-EDO]] || [[40-EDO]] || [[41-EDO]] || [[42-EDO]] || [[43-EDO]] || 44-EDO ||
|| [[45-EDO]] || [[46-EDO]] || [[47-EDO]] || [[48-EDO]] || [[49-EDO]] || [[50-EDO]] || [[51-EDO]] || [[52-EDO]] || [[53-EDO]] || [[54-EDO]] || [[55-EDO]] || [[56-EDO]] || [[57-EDO]] || [[58-EDO]] || [[59-EDO]] || [[60-EDO]] || [[61-EDO]] || [[62-EDO]] || [[63-EDO]] || [[64-EDO]] || [[65-EDO]] || [[66-EDO]] ||
|| 67-EDO || 68-EDO || 69-EDO || 70-EDO || 71-EDO || 72-EDO || 73-EDO || 74-EDO || 75-EDO || 76-EDO || 77-EDO || 78-EDO || 79-EDO || 80-EDO || 81-EDO || 82-EDO || 83-EDO || 84-EDO || 85-EDO || 86-EDO || 87-EDO || 88-EDO ||
|| 89-EDO || 90-EDO || 91-EDO || 92-EDO || 93-EDO || 94-EDO || 95-EDO || 96-EDO || 97-EDO || 98-EDO || 99-EDO || 100-EDO || 101-EDO || 102-EDO || 103-EDO || 104-EDO || 105-EDO || 106-EDO || 107-EDO || 108-EDO || 109-EDO || 110-EDO ||
||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;La sigla &amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;&amp;amp;quot;Equal Divisions of the Octave&amp;amp;quot; en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la &amp;lt;a class="wiki_link" href="/octava"&amp;gt;Octava&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-¿Qué son los EDOs?"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;¿Qué son los EDOs?&amp;lt;/strong&amp;gt; &amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 Un EDO se define como una cantidad determinada de pasos que se repiten a cada Duplo (Ratio de 2/1), prefiriendo a veces la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, donde 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc1"&amp;gt;&amp;lt;a name="Paginas para cada EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;Paginas para cada EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


&amp;lt;table class="wiki_table"&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/1-EDO"&amp;gt;1-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/2-EDO"&amp;gt;2-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/3-EDO"&amp;gt;3-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/4-EDO"&amp;gt;4-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/5%20EDO"&amp;gt;5-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/6%20EDO"&amp;gt;6-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/7%20EDO"&amp;gt;7-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/8-EDO"&amp;gt;8-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/9-EDO"&amp;gt;9-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/10-EDO"&amp;gt;10-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/11-EDO"&amp;gt;11-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/12%20EDO"&amp;gt;12-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/13-EDO"&amp;gt;13-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/14-EDO"&amp;gt;14-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/15-EDO"&amp;gt;15-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/16%20EDO"&amp;gt;16-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/18-EDO"&amp;gt;18-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/19-EDO"&amp;gt;19-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/20-EDO"&amp;gt;20-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/21-EDO"&amp;gt;21-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/22-EDO"&amp;gt;22-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/23-EDO"&amp;gt;23-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/24%20EDO"&amp;gt;24-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/25-EDO"&amp;gt;25-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/26-EDO"&amp;gt;26-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/27-EDO"&amp;gt;27-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/28-EDO"&amp;gt;28-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/29-EDO"&amp;gt;29-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/30-EDO"&amp;gt;30-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/31-EDO"&amp;gt;31-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/32-EDO"&amp;gt;32-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/33-EDO"&amp;gt;33-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/34-EDO"&amp;gt;34-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/35-EDO"&amp;gt;35-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/36-EDO"&amp;gt;36-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/37-EDO"&amp;gt;37-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/38-EDO"&amp;gt;38-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/39-EDO"&amp;gt;39-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/40-EDO"&amp;gt;40-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/41-EDO"&amp;gt;41-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/42-EDO"&amp;gt;42-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/43-EDO"&amp;gt;43-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;44-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/45-EDO"&amp;gt;45-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/46-EDO"&amp;gt;46-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/47-EDO"&amp;gt;47-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/48-EDO"&amp;gt;48-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/49-EDO"&amp;gt;49-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/50-EDO"&amp;gt;50-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/51-EDO"&amp;gt;51-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/52-EDO"&amp;gt;52-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/53-EDO"&amp;gt;53-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/54-EDO"&amp;gt;54-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/55-EDO"&amp;gt;55-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/56-EDO"&amp;gt;56-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/57-EDO"&amp;gt;57-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/58-EDO"&amp;gt;58-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/59-EDO"&amp;gt;59-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/60-EDO"&amp;gt;60-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/61-EDO"&amp;gt;61-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/62-EDO"&amp;gt;62-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/63-EDO"&amp;gt;63-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/64-EDO"&amp;gt;64-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/65-EDO"&amp;gt;65-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/66-EDO"&amp;gt;66-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;67-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;68-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;69-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;70-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;71-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;72-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;73-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;74-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;75-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;76-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;77-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;78-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;79-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;80-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;81-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;82-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;83-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;84-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;85-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;86-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;87-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;88-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;89-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;90-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;91-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;92-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;93-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;94-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;95-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;96-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;97-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;98-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;99-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;100-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;101-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;102-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;103-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;104-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;105-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;106-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;107-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;108-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;109-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;110-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
&amp;lt;/table&amp;gt;

&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>oqv5q9qjl6drw1us9i3qnedkam94t93</sha1>
    </revision>
    <revision>
      <id>81</id>
      <timestamp>2011-09-19T20:33:20Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255877622 - Original comment: **</comment>
      <origin>81</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="17264" sha1="s2jbtamj5irdv773o73ithvqzln31qx" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 20:33:20 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255877622&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;La sigla **EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la [[octava|Octava]].&amp;lt;/span&amp;gt;

==&amp;lt;span class="hps"&amp;gt;**¿Qué son los EDOs?** &amp;lt;/span&amp;gt;== 
Un EDO se define como una cantidad determinada de pasos que se repiten a cada Duplo (Ratio de 2/1), prefiriendo a veces la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, donde 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.


=Paginas para cada EDOs= 

|| [[EDOs/1-EDO|1-EDO]] || [[EDOs/2-EDO|2-EDO]] || [[EDOs/3-EDO|3-EDO]] || [[EDOs/4-EDO|4-EDO]] || [[EDOs/5 EDO|5-EDO]] || [[6 EDO|6-EDO]] || [[EDOs/7 EDO|7-EDO]] || [[EDOs/8-EDO|8-EDO]] || [[EDOs/9-EDO|9-EDO]] || [[EDOs/10-EDO|10-EDO]] || [[EDOs/11-EDO|11-EDO]] || [[EDOs/12 EDO|12-EDO]] || [[EDOs/13-EDO|13-EDO]] || [[EDOs/14-EDO|14-EDO]] || [[EDOs/15-EDO|15-EDO]] || [[16 EDO|16-EDO]] || [[17 EDO|17-EDO]] || [[EDOs/18-EDO|18-EDO]] || [[EDOs/19-EDO|19-EDO]] || [[EDOs/20-EDO|20-EDO]] || [[EDOs/21-EDO|21-EDO]] || [[EDOs/22-EDO|22-EDO]] ||
|| [[23-EDO]] || [[24 EDO|24-EDO]] || [[EDOs/25-EDO|25-EDO]] || [[EDOs/26-EDO|26-EDO]] || [[EDOs/27-EDO|27-EDO]] || [[EDOs/28-EDO|28-EDO]] || [[29-EDO]] || [[EDOs/30-EDO|30-EDO]] || [[EDOs/31-EDO|31-EDO]] || [[EDOs/32-EDO|32-EDO]] || [[EDOs/33-EDO|33-EDO]] || [[EDOs/34-EDO|34-EDO]] || [[EDOs/35-EDO|35-EDO]] || [[EDOs/36-EDO|36-EDO]] || [[EDOs/37-EDO|37-EDO]] || [[EDOs/38-EDO|38-EDO]] || [[EDOs/39-EDO|39-EDO]] || [[EDOs/40-EDO|40-EDO]] || [[41-EDO]] || [[EDOs/42-EDO|42-EDO]] || [[EDOs/43-EDO|43-EDO]] || 44-EDO ||
|| [[EDOs/45-EDO|45-EDO]] || [[EDOs/46-EDO|46-EDO]] || [[EDOs/47-EDO|47-EDO]] || [[EDOs/48-EDO|48-EDO]] || [[EDOs/49-EDO|49-EDO]] || [[EDOs/50-EDO|50-EDO]] || [[EDOs/51-EDO|51-EDO]] || [[EDOs/52-EDO|52-EDO]] || [[53-EDO]] || [[EDOs/54-EDO|54-EDO]] || [[EDOs/55-EDO|55-EDO]] || [[EDOs/56-EDO|56-EDO]] || [[EDOs/57-EDO|57-EDO]] || [[EDOs/58-EDO|58-EDO]] || [[EDOs/59-EDO|59-EDO]] || [[EDOs/60-EDO|60-EDO]] || [[EDOs/61-EDO|61-EDO]] || [[EDOs/62-EDO|62-EDO]] || [[EDOs/63-EDO|63-EDO]] || [[EDOs/64-EDO|64-EDO]] || [[EDOs/65-EDO|65-EDO]] || [[EDOs/66-EDO|66-EDO]] ||
|| 67-EDO || 68-EDO || 69-EDO || 70-EDO || 71-EDO || 72-EDO || 73-EDO || 74-EDO || 75-EDO || 76-EDO || 77-EDO || 78-EDO || 79-EDO || 80-EDO || 81-EDO || 82-EDO || 83-EDO || 84-EDO || 85-EDO || 86-EDO || 87-EDO || 88-EDO ||
|| 89-EDO || 90-EDO || 91-EDO || 92-EDO || 93-EDO || 94-EDO || 95-EDO || 96-EDO || 97-EDO || 98-EDO || 99-EDO || 100-EDO || 101-EDO || 102-EDO || 103-EDO || 104-EDO || 105-EDO || 106-EDO || 107-EDO || 108-EDO || 109-EDO || 110-EDO ||
||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;La sigla &amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;&amp;amp;quot;Equal Divisions of the Octave&amp;amp;quot; en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la &amp;lt;a class="wiki_link" href="/octava"&amp;gt;Octava&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-¿Qué son los EDOs?"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;¿Qué son los EDOs?&amp;lt;/strong&amp;gt; &amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 Un EDO se define como una cantidad determinada de pasos que se repiten a cada Duplo (Ratio de 2/1), prefiriendo a veces la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, donde 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc1"&amp;gt;&amp;lt;a name="Paginas para cada EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;Paginas para cada EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


&amp;lt;table class="wiki_table"&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/1-EDO"&amp;gt;1-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/2-EDO"&amp;gt;2-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/3-EDO"&amp;gt;3-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/4-EDO"&amp;gt;4-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/5%20EDO"&amp;gt;5-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/6%20EDO"&amp;gt;6-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/7%20EDO"&amp;gt;7-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/8-EDO"&amp;gt;8-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/9-EDO"&amp;gt;9-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/10-EDO"&amp;gt;10-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/11-EDO"&amp;gt;11-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/12%20EDO"&amp;gt;12-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/13-EDO"&amp;gt;13-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/14-EDO"&amp;gt;14-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/15-EDO"&amp;gt;15-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/16%20EDO"&amp;gt;16-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/18-EDO"&amp;gt;18-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/19-EDO"&amp;gt;19-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/20-EDO"&amp;gt;20-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/21-EDO"&amp;gt;21-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/22-EDO"&amp;gt;22-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/23-EDO"&amp;gt;23-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/24%20EDO"&amp;gt;24-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/25-EDO"&amp;gt;25-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/26-EDO"&amp;gt;26-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/27-EDO"&amp;gt;27-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/28-EDO"&amp;gt;28-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/29-EDO"&amp;gt;29-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/30-EDO"&amp;gt;30-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/31-EDO"&amp;gt;31-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/32-EDO"&amp;gt;32-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/33-EDO"&amp;gt;33-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/34-EDO"&amp;gt;34-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/35-EDO"&amp;gt;35-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/36-EDO"&amp;gt;36-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/37-EDO"&amp;gt;37-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/38-EDO"&amp;gt;38-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/39-EDO"&amp;gt;39-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/40-EDO"&amp;gt;40-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/41-EDO"&amp;gt;41-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/42-EDO"&amp;gt;42-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/43-EDO"&amp;gt;43-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;44-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/45-EDO"&amp;gt;45-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/46-EDO"&amp;gt;46-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/47-EDO"&amp;gt;47-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/48-EDO"&amp;gt;48-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/49-EDO"&amp;gt;49-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/50-EDO"&amp;gt;50-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/51-EDO"&amp;gt;51-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/52-EDO"&amp;gt;52-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/53-EDO"&amp;gt;53-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/54-EDO"&amp;gt;54-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/55-EDO"&amp;gt;55-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/56-EDO"&amp;gt;56-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/57-EDO"&amp;gt;57-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/58-EDO"&amp;gt;58-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/59-EDO"&amp;gt;59-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/60-EDO"&amp;gt;60-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/61-EDO"&amp;gt;61-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/62-EDO"&amp;gt;62-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/63-EDO"&amp;gt;63-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/64-EDO"&amp;gt;64-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/65-EDO"&amp;gt;65-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="http://edos.wikispaces.com/66-EDO"&amp;gt;66-EDO&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;67-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;68-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;69-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;70-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;71-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;72-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;73-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;74-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;75-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;76-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;77-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;78-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;79-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;80-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;81-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;82-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;83-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;84-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;85-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;86-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;87-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;88-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;89-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;90-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;91-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;92-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;93-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;94-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;95-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;96-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;97-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;98-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;99-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;100-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;101-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;102-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;103-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;104-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;105-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;106-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;107-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;108-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;109-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;110-EDO&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>s2jbtamj5irdv773o73ithvqzln31qx</sha1>
    </revision>
    <revision>
      <id>82</id>
      <timestamp>2011-09-18T17:41:25Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255359062 - Original comment: **</comment>
      <origin>82</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="10121" sha1="ll06qjyhllu0bv526sg2wvo2rgs2iki" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-18 17:41:25 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255359062&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;La sigla **EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la [[octava|Octava]].&amp;lt;/span&amp;gt;

==&amp;lt;span class="hps"&amp;gt;**¿Por qué EDOs?** &amp;lt;/span&amp;gt;== 



=Paginas para cada EDOs= 

|| 1 || 2 || 3 || 4 || [[5 EDO|5]] || [[6 EDO|6]] || [[7 EDO|7]] || 8 || 9 || 10 || 11 || [[12 EDO|12]] || 13 || 15 || [[16 EDO|16]] || [[17 EDO|17]] || 18 || 19 || 20 || 21 || 22 || 23 || [[24 EDO|24]] || 25 ||
|| 26 || 27 || 28 || 29 || 30 || 31 || 32 || 33 || 34 || 35 || 36 || 37 || 38 || 39 || 40 || 41 || 42 || 43 || 44 || 45 || 46 || 47 || 48 || 49 ||
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||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;La sigla &amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;&amp;amp;quot;Equal Divisions of the Octave&amp;amp;quot; en inglés, o sea, Equitativas Divisiones&amp;lt;span class="hps"&amp;gt; de la &amp;lt;a class="wiki_link" href="/octava"&amp;gt;Octava&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-¿Por qué EDOs?"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;¿Por qué EDOs?&amp;lt;/strong&amp;gt; &amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc1"&amp;gt;&amp;lt;a name="Paginas para cada EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;Paginas para cada EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


&amp;lt;table class="wiki_table"&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;1&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;2&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;3&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;4&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/5%20EDO"&amp;gt;5&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/6%20EDO"&amp;gt;6&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/7%20EDO"&amp;gt;7&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;8&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;10&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/12%20EDO"&amp;gt;12&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;13&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;15&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/16%20EDO"&amp;gt;16&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;18&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;22&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;23&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/24%20EDO"&amp;gt;24&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;25&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
    &amp;lt;/tr&amp;gt;
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&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;27&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;28&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;32&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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      <sha1>ll06qjyhllu0bv526sg2wvo2rgs2iki</sha1>
    </revision>
    <revision>
      <id>83</id>
      <timestamp>2011-09-18T14:40:05Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255317346 - Original comment: **</comment>
      <origin>83</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="10050" sha1="r0expdax8dgc5rkvrbnu9q8pbryvasx" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 14:40:05 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255317346&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;**EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en ingles. (&amp;lt;span class="hps"&amp;gt;divisiones iguales de la [[octava]])&amp;lt;/span&amp;gt;

==&amp;lt;span class="hps"&amp;gt;**¿Por qué EDOs?** &amp;lt;/span&amp;gt;== 



=Paginas por EDOs= 

|| 1 || 2 || 3 || 4 || [[5 EDO|5]] || [[6 EDO|6]] || [[7 EDO|7]] || 8 || 9 || 10 || 11 || [[12 EDO|12]] || 13 || 15 || [[16 EDO|16]] || [[17 EDO|17]] || 18 || 19 || 20 || 21 || 22 || 23 || [[24 EDO|24]] || 25 ||
|| 26 || 27 || 28 || 29 || 30 || 31 || 32 || 33 || 34 || 35 || 36 || 37 || 38 || 39 || 40 || 41 || 42 || 43 || 44 || 45 || 46 || 47 || 48 || 49 ||
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&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;&amp;amp;quot;Equal Divisions of the Octave&amp;amp;quot; en ingles. (&amp;lt;span class="hps"&amp;gt;divisiones iguales de la &amp;lt;a class="wiki_link" href="/octava"&amp;gt;octava&amp;lt;/a&amp;gt;)&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-¿Por qué EDOs?"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;¿Por qué EDOs?&amp;lt;/strong&amp;gt; &amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc1"&amp;gt;&amp;lt;a name="Paginas por EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;Paginas por EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


&amp;lt;table class="wiki_table"&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;1&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
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        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/24%20EDO"&amp;gt;24&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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      <sha1>r0expdax8dgc5rkvrbnu9q8pbryvasx</sha1>
    </revision>
    <revision>
      <id>84</id>
      <timestamp>2011-09-18T12:39:21Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255292858 - Original comment: **</comment>
      <origin>84</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="9985" sha1="rer7irtlcz6rzz3ptkarzdrcu3tyouc" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 12:39:21 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255292858&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;**EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en ingles. (&amp;lt;span class="hps"&amp;gt;divisiones iguales de la [[octava]])&amp;lt;/span&amp;gt;

==&amp;lt;span class="hps"&amp;gt;**¿Por qué EDOs?** &amp;lt;/span&amp;gt;== 



=Paginas por EDOs= 

|| 1 || 2 || 3 || 4 || [[5 EDO|5]] || [[6 EDO|6]] || [[7 EDO|7]] || 8 || 9 || 10 || 11 || [[12 EDO|12]] || 13 || 15 || 16 || [[17 EDO|17]] || 18 || 19 || 20 || 21 || 22 || 23 || [[24 EDO|24]] || 25 ||
|| 26 || 27 || 28 || 29 || 30 || 31 || 32 || 33 || 34 || 35 || 36 || 37 || 38 || 39 || 40 || 41 || 42 || 43 || 44 || 45 || 46 || 47 || 48 || 49 ||
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||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;&amp;amp;quot;Equal Divisions of the Octave&amp;amp;quot; en ingles. (&amp;lt;span class="hps"&amp;gt;divisiones iguales de la &amp;lt;a class="wiki_link" href="/octava"&amp;gt;octava&amp;lt;/a&amp;gt;)&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-¿Por qué EDOs?"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;¿Por qué EDOs?&amp;lt;/strong&amp;gt; &amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc1"&amp;gt;&amp;lt;a name="Paginas por EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;Paginas por EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


&amp;lt;table class="wiki_table"&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;1&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/5%20EDO"&amp;gt;5&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/6%20EDO"&amp;gt;6&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/7%20EDO"&amp;gt;7&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>rer7irtlcz6rzz3ptkarzdrcu3tyouc</sha1>
    </revision>
    <revision>
      <id>85</id>
      <timestamp>2011-09-18T12:39:12Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255292822 - Original comment: **</comment>
      <origin>85</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="9979" sha1="4fbyjg7rcf1wo2imukk2o659n2vwgco" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 12:39:12 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255292822&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;**EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en ingles. (&amp;lt;span class="hps"&amp;gt;divisiones iguales de la [[octava]])&amp;lt;/span&amp;gt;

==&amp;lt;span class="hps"&amp;gt;**Por qué EDOs?** &amp;lt;/span&amp;gt;== 



=Paginas por EDOs= 

|| 1 || 2 || 3 || 4 || [[5 EDO|5]] || [[6 EDO|6]] || [[7 EDO|7]] || 8 || 9 || 10 || 11 || [[12 EDO|12]] || 13 || 15 || 16 || [[17 EDO|17]] || 18 || 19 || 20 || 21 || 22 || 23 || [[24 EDO|24]] || 25 ||
|| 26 || 27 || 28 || 29 || 30 || 31 || 32 || 33 || 34 || 35 || 36 || 37 || 38 || 39 || 40 || 41 || 42 || 43 || 44 || 45 || 46 || 47 || 48 || 49 ||
|| 50 || 51 || 52 || 53 || 54 || 55 ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||
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||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||   ||&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;&amp;amp;quot;Equal Divisions of the Octave&amp;amp;quot; en ingles. (&amp;lt;span class="hps"&amp;gt;divisiones iguales de la &amp;lt;a class="wiki_link" href="/octava"&amp;gt;octava&amp;lt;/a&amp;gt;)&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Por qué EDOs?"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;Por qué EDOs?&amp;lt;/strong&amp;gt; &amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc1"&amp;gt;&amp;lt;a name="Paginas por EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;Paginas por EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


&amp;lt;table class="wiki_table"&amp;gt;
    &amp;lt;tr&amp;gt;
        &amp;lt;td&amp;gt;1&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;2&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;3&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/5%20EDO"&amp;gt;5&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/6%20EDO"&amp;gt;6&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/7%20EDO"&amp;gt;7&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;8&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/12%20EDO"&amp;gt;12&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;13&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
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        &amp;lt;td&amp;gt;23&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;&amp;lt;a class="wiki_link" href="/24%20EDO"&amp;gt;24&amp;lt;/a&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
        &amp;lt;td&amp;gt;25&amp;lt;br /&amp;gt;
&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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&amp;lt;/td&amp;gt;
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    <revision>
      <id>86</id>
      <timestamp>2011-09-18T12:38:17Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255292638 - Original comment: **</comment>
      <origin>86</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="9611" sha1="2lhlg9krx8pyst5aby1feoy9gvba94a" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 12:38:17 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255292638&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;**EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en ingles. (&amp;lt;span class="hps"&amp;gt;divisiones iguales de la [[octava]])&amp;lt;/span&amp;gt;

=Paginas por EDOs= 

|| 1 || 2 || 3 || 4 || [[5 EDO|5]] || [[6 EDO|6]] || [[7 EDO|7]] || 8 || 9 || 10 || 11 || [[12 EDO|12]] || 13 || 15 || 16 || [[17 EDO|17]] || 18 || 19 || 20 || 21 || 22 || 23 || [[24 EDO|24]] || 25 ||
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&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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&amp;lt;br /&amp;gt;
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 &amp;lt;br /&amp;gt;


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      <sha1>2lhlg9krx8pyst5aby1feoy9gvba94a</sha1>
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    <revision>
      <id>87</id>
      <timestamp>2011-09-18T12:33:17Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255291620 - Original comment: **</comment>
      <origin>87</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="9422" sha1="9gq34p1k1o20dbbq3cqp3z8qq0ggaow" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 12:33:17 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255291620&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;**EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en ingles. (&amp;lt;span class="hps"&amp;gt;divisiones iguales de la [[octava]])&amp;lt;/span&amp;gt;

=Paginas por EDOs= 

|| 1 || 2 || 3 || 4 || 5 || 6 || 7 || 8 || 9 || 10 || 11 || [[12 EDO|12]] || 13 || 15 || 16 || [[17 EDO|17]] || 18 || 19 || 20 || 21 || 22 || 23 || [[24 EDO|24]] || 25 ||
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&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;&amp;amp;quot;Equal Divisions of the Octave&amp;amp;quot; en ingles. (&amp;lt;span class="hps"&amp;gt;divisiones iguales de la &amp;lt;a class="wiki_link" href="/octava"&amp;gt;octava&amp;lt;/a&amp;gt;)&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="Paginas por EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;Paginas por EDOs&amp;lt;/h1&amp;gt;
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      <sha1>9gq34p1k1o20dbbq3cqp3z8qq0ggaow</sha1>
    </revision>
    <revision>
      <id>88</id>
      <timestamp>2011-09-18T12:31:42Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255291324 - Original comment: **</comment>
      <origin>88</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="9366" sha1="jvpcbvgg1ftzv01gxa39tn7q8pcynxr" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 12:31:42 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255291324&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;**EDO** &amp;lt;span class="hps"&amp;gt;significa &amp;lt;/span&amp;gt;"Equal Divisions of the Octave" en ingles. (&amp;lt;span class="hps"&amp;gt;divisiones iguales de la octava)&amp;lt;/span&amp;gt;

=Paginas por EDOs= 

|| 1 || 2 || 3 || 4 || 5 || 6 || 7 || 8 || 9 || 10 || 11 || [[12 EDO|12]] || 13 || 15 || 16 || [[17 EDO|17]] || 18 || 19 || 20 || 21 || 22 || 23 || [[24 EDO|24]] || 25 ||
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&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="Paginas por EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;Paginas por EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


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      <sha1>jvpcbvgg1ftzv01gxa39tn7q8pcynxr</sha1>
    </revision>
    <revision>
      <id>89</id>
      <timestamp>2011-09-16T12:29:34Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254793680 - Original comment: **</comment>
      <origin>89</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="9389" sha1="qsahdp0kmn6w390ucaa0psrc88he8oi" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:29:34 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254793680&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;The abbreviation **EDO** stands for **[[xenharmonic/Equal|Equal]] Divisions of the [[xenharmonic/Octave|Octave]]**

=Paginas por EDOs= 

|| 1 || 2 || 3 || 4 || 5 || 6 || 7 || 8 || 9 || 10 || 11 || [[12 EDO|12]] || 13 || 15 || 16 || [[17 EDO|17]] || 18 || 19 || 20 || 21 || 22 || 23 || [[24 EDO|24]] || 25 ||
|| 26 || 27 || 28 || 29 || 30 || 31 || 32 || 33 || 34 || 35 || 36 || 37 || 38 || 39 || 40 || 41 || 42 || 43 || 44 || 45 || 46 || 47 || 48 || 49 ||
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&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="Paginas por EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;Paginas por EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


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      <sha1>qsahdp0kmn6w390ucaa0psrc88he8oi</sha1>
    </revision>
    <revision>
      <id>90</id>
      <timestamp>2011-09-16T12:24:22Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254791378 - Original comment: **</comment>
      <origin>90</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="9299" sha1="h81fewdf69ikg0swlhzngg7qv69coey" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:24:22 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254791378&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;The abbreviation **EDO** stands for **[[xenharmonic/Equal|Equal]] Divisions of the [[xenharmonic/Octave|Octave]]**

=Paginas por EDOs= 

|| 1 || 2 || 3 || 4 || 5 || 6 || 7 || 8 || 9 || 10 || 11 || [[12 EDO|12]] || 13 || 15 || 16 || [[17 EDO|17]] || 18 || 19 || 20 || 21 || 22 || 23 || [[24 EDO|24]] || 25 ||
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&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;The abbreviation &amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; stands for &amp;lt;strong&amp;gt;&amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/Equal"&amp;gt;Equal&amp;lt;/a&amp;gt; Divisions of the &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/Octave"&amp;gt;Octave&amp;lt;/a&amp;gt;&amp;lt;/strong&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="Paginas por EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;Paginas por EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


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      <sha1>h81fewdf69ikg0swlhzngg7qv69coey</sha1>
    </revision>
    <revision>
      <id>91</id>
      <timestamp>2011-09-16T12:21:41Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254790262 - Original comment: **</comment>
      <origin>91</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="9104" sha1="ngxr2nes5fxohf0av7qogkt4e9qhc86" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:21:41 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254790262&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;The abbreviation **EDO** stands for **[[xenharmonic/Equal|Equal]] Divisions of the [[xenharmonic/Octave|Octave]]**

=Paginas por EDOs= 

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&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;The abbreviation &amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; stands for &amp;lt;strong&amp;gt;&amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/Equal"&amp;gt;Equal&amp;lt;/a&amp;gt; Divisions of the &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/Octave"&amp;gt;Octave&amp;lt;/a&amp;gt;&amp;lt;/strong&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc0"&amp;gt;&amp;lt;a name="Paginas por EDOs"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;Paginas por EDOs&amp;lt;/h1&amp;gt;
 &amp;lt;br /&amp;gt;


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      <sha1>ngxr2nes5fxohf0av7qogkt4e9qhc86</sha1>
    </revision>
    <revision>
      <id>92</id>
      <timestamp>2011-09-16T12:20:58Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254789990 - Original comment: **</comment>
      <origin>92</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="8871" sha1="srxvd4o76ext9rah78uf73pz6x6nmt6" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:20:58 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254789990&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;The abbreviation **EDO** stands for **[[xenharmonic/Equal|Equal]] Divisions of the [[xenharmonic/Octave|Octave]]**

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&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDOs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;The abbreviation &amp;lt;strong&amp;gt;EDO&amp;lt;/strong&amp;gt; stands for &amp;lt;strong&amp;gt;&amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/Equal"&amp;gt;Equal&amp;lt;/a&amp;gt; Divisions of the &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/Octave"&amp;gt;Octave&amp;lt;/a&amp;gt;&amp;lt;/strong&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;


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&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>srxvd4o76ext9rah78uf73pz6x6nmt6</sha1>
    </revision>
    <revision>
      <id>244</id>
      <parentid>15</parentid>
      <timestamp>2018-10-06T14:25:20Z</timestamp>
      <contributor>
        <username>PG's sock that dumps pages here</username>
        <id>5</id>
      </contributor>
      <comment>/* Paginas para cada EDOs */ Error [[1-EDO]]</comment>
      <origin>244</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2241" sha1="6xa8k1hizk42rg43j9aeph2lv074bw5" xml:space="preserve">La sigla '''EDO''' &lt;span style=""&gt;significa &lt;/span&gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&lt;span style=""&gt; de la [[octava|Octava]].&lt;/span&gt;

==&lt;span style=""&gt;'''¿Qué son los EDOs?''' &lt;/span&gt;==
Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.

=Paginas para cada EDOs=

{| class="wikitable"
|-
| | [[1-EDO|1]]
| | 2
| | 3
| | 4
| | [[5_EDO|5]]
| | [[6_EDO|6]]
| | [[7_EDO|7]]
| | 8
| | 9
| | 10
| | 11
| | [[12_EDO|12]]
| | 13
| | 14
| | 15
| | [[16_EDO|16]]
| | [[17_EDO|17]]
| | 18
| | [[19_EDO|19]]
| | [[20_EDO|20]]
| | 21
| | 22
|-
| | [[23_EDO|23]]
| | [[24_EDO|24]]
| | [[25_EDO|25]]
| | 26
| | 27
| | 28
| | 29
| | 30
| | [[31_EDO|31]]
| | 32
| | 33
| | 34
| | 35
| | 36
| | 37
| | 38
| | 39
| | 40
| | 41
| | 42
| | 43
| | 44
|-
| | 45
| | 46
| | 47
| | 48
| | 49
| | 50
| | 51
| | 52
| | 53
| | 54
| | [[55_EDO|55]]
| | 56
| | 57
| | 58
| | 59
| | 60
| | 61
| | 62
| | 63
| | 64
| | 65
| | 66
|-
| | 67
| | 68
| | 69
| | 70
| | 71
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| | 73
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| | 75
| | 76
| | 77
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| | 80
| | 81
| | 82
| | 83
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| | 85
| | 86
| | 87
| | 88
|-
| | 89
| | 90
| | 91
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| | 93
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| | 110
|-
| | 111
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|-
| | 133
| | 134
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| | 141
| | 142
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| | 154
|}
[[Category:edo]]
[[Category:tet]]</text>
      <sha1>6xa8k1hizk42rg43j9aeph2lv074bw5</sha1>
    </revision>
    <revision>
      <id>253</id>
      <parentid>244</parentid>
      <timestamp>2018-10-11T10:00:58Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>tabla no informativa reducida; reordenada a 20 llamadas por fila; se añadieron enlaces interwiki</comment>
      <origin>253</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1428" sha1="jj4zwxyhcn4r2yil2bvjd701wt0n5m6" xml:space="preserve">La sigla '''EDO''' &lt;span style=""&gt;significa &lt;/span&gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&lt;span style=""&gt; de la [[octava|Octava]].&lt;/span&gt;

==&lt;span style=""&gt;'''¿Qué son los EDOs?''' &lt;/span&gt;==
Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.

=Paginas para cada EDOs=

{| class="wikitable"
|-
| [[1-EDO|1]]
| 2
| 3
| 4
| [[5_EDO|5]]
| [[6_EDO|6]]
| [[7_EDO|7]]
| 8
| 9
| 10
| 11
| [[12_EDO|12]]
| 13
| 14
| 15
| [[16_EDO|16]]
| [[17_EDO|17]]
| 18
| [[19_EDO|19]]
| [[20_EDO|20]]
|-
| 21
| 22
| [[23_EDO|23]]
| [[24_EDO|24]]
| [[25_EDO|25]]
| 26
| 27
| 28
| 29
| 30
| [[31_EDO|31]]
| 32
| 33
| 34
| 35
| 36
| 37
| 38
| 39
| 40
|-
| 41
| 42
| 43
| 44
| 45
| 46
| 47
| 48
| 49
| 50
| 51
| 52
| 53
| 54
| [[55_EDO|55]]
| 56
| 57
| 58
| 59
| 60
|}

[[Category:edo| ]] &lt;!-- artículo principal --&gt;
[[Category:tet]]</text>
      <sha1>jj4zwxyhcn4r2yil2bvjd701wt0n5m6</sha1>
    </revision>
    <revision>
      <id>262</id>
      <parentid>253</parentid>
      <timestamp>2018-10-13T09:03:23Z</timestamp>
      <contributor>
        <username>Hstraub</username>
        <id>7</id>
      </contributor>
      <comment>Language link</comment>
      <origin>262</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1450" sha1="flbjxfzletkbmybhr7hfyx3ep6xluka" xml:space="preserve">[[en:EDO]] [[de:EDO]]
La sigla '''EDO''' &lt;span style=""&gt;significa &lt;/span&gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&lt;span style=""&gt; de la [[octava|Octava]].&lt;/span&gt;

==&lt;span style=""&gt;'''¿Qué son los EDOs?''' &lt;/span&gt;==
Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.

=Paginas para cada EDOs=

{| class="wikitable"
|-
| [[1-EDO|1]]
| 2
| 3
| 4
| [[5_EDO|5]]
| [[6_EDO|6]]
| [[7_EDO|7]]
| 8
| 9
| 10
| 11
| [[12_EDO|12]]
| 13
| 14
| 15
| [[16_EDO|16]]
| [[17_EDO|17]]
| 18
| [[19_EDO|19]]
| [[20_EDO|20]]
|-
| 21
| 22
| [[23_EDO|23]]
| [[24_EDO|24]]
| [[25_EDO|25]]
| 26
| 27
| 28
| 29
| 30
| [[31_EDO|31]]
| 32
| 33
| 34
| 35
| 36
| 37
| 38
| 39
| 40
|-
| 41
| 42
| 43
| 44
| 45
| 46
| 47
| 48
| 49
| 50
| 51
| 52
| 53
| 54
| [[55_EDO|55]]
| 56
| 57
| 58
| 59
| 60
|}

[[Category:edo| ]] &lt;!-- artículo principal --&gt;
[[Category:tet]]</text>
      <sha1>flbjxfzletkbmybhr7hfyx3ep6xluka</sha1>
    </revision>
    <revision>
      <id>263</id>
      <parentid>262</parentid>
      <timestamp>2018-10-13T09:07:29Z</timestamp>
      <contributor>
        <username>Hstraub</username>
        <id>7</id>
      </contributor>
      <comment>Interdikt</comment>
      <origin>263</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1470" sha1="fywjmi2xaodnnma0zfwpvpj3o9xaalt" xml:space="preserve">La sigla '''EDO''' &lt;span style=""&gt;significa &lt;/span&gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&lt;span style=""&gt; de la [[octava|Octava]].&lt;/span&gt;

==&lt;span style=""&gt;'''¿Qué son los EDOs?''' &lt;/span&gt;==
Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.

=Paginas para cada EDOs=

{| class="wikitable"
|-
| [[1-EDO|1]]
| 2
| 3
| 4
| [[5_EDO|5]]
| [[6_EDO|6]]
| [[7_EDO|7]]
| 8
| 9
| 10
| 11
| [[12_EDO|12]]
| 13
| 14
| 15
| [[16_EDO|16]]
| [[17_EDO|17]]
| 18
| [[19_EDO|19]]
| [[20_EDO|20]]
|-
| 21
| 22
| [[23_EDO|23]]
| [[24_EDO|24]]
| [[25_EDO|25]]
| 26
| 27
| 28
| 29
| 30
| [[31_EDO|31]]
| 32
| 33
| 34
| 35
| 36
| 37
| 38
| 39
| 40
|-
| 41
| 42
| 43
| 44
| 45
| 46
| 47
| 48
| 49
| 50
| 51
| 52
| 53
| 54
| [[55_EDO|55]]
| 56
| 57
| 58
| 59
| 60
|}

[[Category:edo| ]] &lt;!-- artículo principal --&gt;
[[Category:tet]]

&lt;!-- interwiki --&gt;
[[en:EDO]] [[de:EDO]]</text>
      <sha1>fywjmi2xaodnnma0zfwpvpj3o9xaalt</sha1>
    </revision>
    <revision>
      <id>270</id>
      <parentid>263</parentid>
      <timestamp>2018-10-13T23:29:34Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>Interwiki-Lösung durch Übernahme des Interwiki-Abschnittes aus en ersetzt</comment>
      <origin>270</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1509" sha1="8gthkr23rjhkaj77lhme59clxuc69vk" xml:space="preserve">{{interwiki
| de = EDO
| en = EDO
| es = EDOs
| ja = オクターブ平均律
}}
La sigla '''EDO''' &lt;span style=""&gt;significa &lt;/span&gt;"Equal Divisions of the Octave" en inglés, o sea, Equitativas Divisiones&lt;span style=""&gt; de la [[octava|Octava]].&lt;/span&gt;

==&lt;span style=""&gt;'''¿Qué son los EDOs?''' &lt;/span&gt;==
Un EDO se define como una cantidad determinada de pasos que se repiten a cada octava (Ratio de 2/1), prefiriendo además la sigla ED2. Un EDO ó ED2 está sujeto en base a una fórmula de tipo geométrico ó logarítmico, lo cual hace que las distancias sonoras vayan equidistantes entre sí, haciendo reconocibles todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2^(x/n), en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, los cuales 'x' es el intervalo y 'n' es el límite de notas, siendo estos números naturales.

=Paginas para cada EDOs=

{| class="wikitable"
|-
| [[1-EDO|1]]
| 2
| 3
| 4
| [[5_EDO|5]]
| [[6_EDO|6]]
| [[7_EDO|7]]
| 8
| 9
| 10
| 11
| [[12_EDO|12]]
| 13
| 14
| 15
| [[16_EDO|16]]
| [[17_EDO|17]]
| 18
| [[19_EDO|19]]
| [[20_EDO|20]]
|-
| 21
| 22
| [[23_EDO|23]]
| [[24_EDO|24]]
| [[25_EDO|25]]
| 26
| 27
| 28
| 29
| 30
| [[31_EDO|31]]
| 32
| 33
| 34
| 35
| 36
| 37
| 38
| 39
| 40
|-
| 41
| 42
| 43
| 44
| 45
| 46
| 47
| 48
| 49
| 50
| 51
| 52
| 53
| 54
| [[55_EDO|55]]
| 56
| 57
| 58
| 59
| 60
|}

[[Category:edo| ]] &lt;!-- artículo principal --&gt;
[[Category:tet]]</text>
      <sha1>8gthkr23rjhkaj77lhme59clxuc69vk</sha1>
    </revision>
    <revision>
      <id>306</id>
      <parentid>270</parentid>
      <timestamp>2018-12-28T00:10:13Z</timestamp>
      <contributor>
        <username>URL</username>
        <id>9</id>
      </contributor>
      <comment>Ortografía corregida</comment>
      <origin>306</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1777" sha1="l54t0d4koz9c4yavar2qr20qmpnmz03" xml:space="preserve">{{interwiki
| de = EDO
| en = EDO
| es = EDOs
| ja = オクターブ平均律
}}
La siglas '''EDO''' &lt;span style=""&gt;significan &lt;/span&gt;"Equal Divisions of the Octave" en inglés, o sea, Divisiones&lt;span style=""&gt; Iguales de la [[octava|Octava]].&lt;/span&gt;

==&lt;span style=""&gt;'''¿Qué son los EDOs?''' &lt;/span&gt;==
Un EDO es un sistema de entonación particular en el que cada octava (razón &lt;sup&gt;2&lt;/sup&gt;&amp;frasl;&lt;sub&gt;1&lt;/sub&gt;) se divide en una cantidad determinada de pasos equidistantes. Las siglas ED2 pueden también ser usadas, para enfatizar el uso de la octava en contraste con otros intervalos (una división en partes iguales de una [[tritava]], por ejemplo, se podría escribir como ED3). Un EDO o ED2 está sujeto con base en una fórmula de tipo geométrico o logarítmico, lo cual hace que las distancias sonoras sean equidistantes entre sí, haciendo reconocibles a todos sus intervalos debido a la duplicación de sus frecuencias en un orden constante. Esta fórmula es representada como 2&lt;sup&gt;&lt;sup&gt;x&lt;/sup&gt;&amp;frasl;&lt;sub&gt;n&lt;/sub&gt;&lt;/sup&gt;, en donde el 2 figura como el armónico constante que duplica la frecuencia de sus intervalos, x es el intervalo y n es el límite de notas, siendo estos números naturales.

=Páginas para cada EDO=

{| class="wikitable"
|-
| [[1-EDO|1]]
| 2
| 3
| 4
| [[5_EDO|5]]
| [[6_EDO|6]]
| [[7_EDO|7]]
| 8
| 9
| 10
| 11
| [[12_EDO|12]]
| 13
| 14
| 15
| [[16_EDO|16]]
| [[17_EDO|17]]
| 18
| [[19_EDO|19]]
| [[20_EDO|20]]
|-
| 21
| 22
| [[23_EDO|23]]
| [[24_EDO|24]]
| [[25_EDO|25]]
| 26
| 27
| 28
| 29
| 30
| [[31_EDO|31]]
| 32
| 33
| 34
| 35
| 36
| 37
| 38
| 39
| 40
|-
| 41
| 42
| 43
| 44
| 45
| 46
| 47
| 48
| 49
| 50
| 51
| 52
| 53
| 54
| [[55_EDO|55]]
| 56
| 57
| 58
| 59
| 60
|}

[[Categoría:Edo| ]] &lt;!-- artículo principal --&gt;
[[Category:tet]]</text>
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    <revision>
      <id>350</id>
      <parentid>306</parentid>
      <timestamp>2026-07-15T19:35:54Z</timestamp>
      <contributor>
        <username>Eufalesio</username>
        <id>13</id>
      </contributor>
      <comment>Rescribir</comment>
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      <text bytes="2141" sha1="3m3ey19qvpw9arkpobx54up6gqgtef3" xml:space="preserve">{{interwiki
| de = EDO
| en = EDO
| es = EDOs
| ja = オクターブ平均律
}}
La siglas '''EDO''' &lt;span style=""&gt;significan &lt;/span&gt;"Equal Divisions of the Octave" en inglés; Divisiones&lt;span style=""&gt; Iguales de la [[octava|Octava]] en español.&lt;/span&gt;

==&lt;span style=""&gt;'''¿Qué son los EDOs?''' &lt;/span&gt;==
Los EDOs (comúnmente escritos ''edos'') son sistemas de afinación obtenidos mediante la división de la octava en partes iguales logarítmicamente. Cada una de estas partes dista de la otra de un número irracional - la enésima raíz de 2, siendo N el número específico de divisiones; no es una diferencia específica de hercios, sino un múltiplo específico. Cada uno de estos edos se denomina Nedo, donde por ejemplo tenemos [[12edo]], también llamado ''temperamento igual'' de manera más asidua e inespecífica.

=== Edos como temperamentos ===
Cada edo actúa como un [[temperamento igual]], que se puede definir únicamente por una serie de [[Coma|comas]]. Por ejemplo, 12edo en el [[5-limit]] se puede definir como el temperamento que desvanece [[531441/524288]] y [[81/80]], la coma pitagórica y la coma sintónica respectivamente. No hay ningún otro edo que desvanezca las dos comas a la vez, pero hay infinitas combinaciones de comas que producen 12edo; 81/80 y 32805/32768, 2048/2025 y 128/125, 67108864/66430125 y 6561/6250... etc. Cualquier edo se puede definir con n-1 comas en el n-limit.

Otro ejemplo es 19edo, que se puede definir como 81/80 y 15625/15552, 31edo como 81/80 y 393216/390625, 53edo como 32805/32768 y 15625/15552.. etc.

=Páginas para cada EDO=

{| class="wikitable"
|-
| [[1-EDO|1]]
| 2
| 3
| 4
| [[5_EDO|5]]
| [[6_EDO|6]]
| [[7_EDO|7]]
| 8
| 9
| 10
| 11
| [[12_EDO|12]]
| 13
| 14
| 15
| [[16_EDO|16]]
| [[17_EDO|17]]
| 18
| [[19_EDO|19]]
| [[20_EDO|20]]
|-
| 21
| 22
| [[23_EDO|23]]
| [[24_EDO|24]]
| [[25_EDO|25]]
| 26
| 27
| 28
| 29
| 30
| [[31_EDO|31]]
| 32
| 33
| 34
| 35
| 36
| 37
| 38
| 39
| 40
|-
| 41
| 42
| 43
| 44
| 45
| 46
| 47
| 48
| 49
| 50
| 51
| 52
| 53
| 54
| [[55_EDO|55]]
| 56
| 57
| 58
| 59
| 60
|}

[[Categoría:Edo| ]] &lt;!-- artículo principal --&gt;
[[Category:tet]]</text>
      <sha1>3m3ey19qvpw9arkpobx54up6gqgtef3</sha1>
    </revision>
  </page>
  <page>
    <title>EDTs</title>
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    <id>16</id>
    <revision>
      <id>16</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
      </contributor>
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      <model>wikitext</model>
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      <text bytes="196" sha1="rb9lvor15rkok2ep840tdkpk8jgmisp" xml:space="preserve">Los EDT ó ED3 son &lt;span style=""&gt;afinaciones que dividen la tritava (ratio de 3/1) en n partes equidistantes.&lt;/span&gt;

&lt;span style=""&gt;El 13-ED3 es conocido como el sistema de Bohlen-Pierce.&lt;/span&gt;</text>
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    </revision>
    <revision>
      <id>93</id>
      <timestamp>2012-11-14T22:50:36Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 382634932 - Original comment: **</comment>
      <origin>93</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1703" sha1="6olb2faqu1iewg9urr8liu7dileqpzi" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-14 22:50:36 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382634932&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;Los EDT ó ED3 son &amp;lt;span class="hps"&amp;gt;afinaciones que dividen la tritava (ratio de 3/1) en n partes equidistantes.&amp;lt;/span&amp;gt;

&amp;lt;span class="hps"&amp;gt;El 13-ED3 es conocido como el sistema de Bohlen-Pierce.&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDTs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;Los EDT ó ED3 son &amp;lt;span class="hps"&amp;gt;afinaciones que dividen la tritava (ratio de 3/1) en n partes equidistantes.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;El 13-ED3 es conocido como el sistema de Bohlen-Pierce.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>6olb2faqu1iewg9urr8liu7dileqpzi</sha1>
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    <revision>
      <id>94</id>
      <timestamp>2011-09-20T10:22:46Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 256079040 - Original comment: **</comment>
      <origin>94</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1653" sha1="64vis4mrwzo0jb1rcjmlyfgxm6g54g1" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 10:22:46 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;256079040&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;EDTs (ED3) son &amp;lt;span class="hps"&amp;gt;afinaciones que dividir el "tritave" (3/1) en partes iguales.&amp;lt;/span&amp;gt;

&amp;lt;span class="hps"&amp;gt;13-EDT es llamado "Bohlen-Pierce" &amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;EDTs&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;EDTs (ED3) son &amp;lt;span class="hps"&amp;gt;afinaciones que dividir el &amp;amp;quot;tritave&amp;amp;quot; (3/1) en partes iguales.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;13-EDT es llamado &amp;amp;quot;Bohlen-Pierce&amp;amp;quot; &amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>64vis4mrwzo0jb1rcjmlyfgxm6g54g1</sha1>
    </revision>
  </page>
  <page>
    <title>Escala Blackwood</title>
    <ns>0</ns>
    <id>17</id>
    <revision>
      <id>17</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
      </contributor>
      <origin>17</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="500" sha1="ky4j9rf8oh6ixhsoay0u0elfw1tdjyp" xml:space="preserve">La Escala Blackwood es un escala con 10 notas,&lt;span style=""&gt; utilizado por primera vez por Easley Blackwood Jr.&lt;/span&gt;

&lt;span style=""&gt;Algunas afinaciones buenas para blackwood son [[15_EDO|15-EDO]], [[20_EDO|20-EDO]], y [[25_EDO|25-EDO]].&lt;/span&gt;

&lt;span style=""&gt;La escala puede ser LcLcLcLcLc, ó inversamente cLcLcLcLcL. ('L' = intervalo largo &amp;amp; 'c' = intervalo corto) &lt;/span&gt;

==&lt;span style=""&gt;'''Música'''&lt;/span&gt;==
[http://www.youtube.com/watch?v=mPcbiBcWWJc Enterprise] por Sevish (20-EDO)</text>
      <sha1>ky4j9rf8oh6ixhsoay0u0elfw1tdjyp</sha1>
    </revision>
    <revision>
      <id>95</id>
      <timestamp>2012-11-14T22:48:15Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 382634170 - Original comment: **</comment>
      <origin>95</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2820" sha1="c47flwtwvdvkh8azg7bihmjf6ddnbq3" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-14 22:48:15 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382634170&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;La Escala Blackwood es un escala con 10 notas,&amp;lt;span class="hps"&amp;gt; utilizado por primera vez por Easley Blackwood Jr.&amp;lt;/span&amp;gt;
&amp;lt;span class="hps"&amp;gt;Algunas afinaciones buenas para blackwood son [[15 EDO|15-EDO]], [[20 EDO|20-EDO]], y [[25 EDO|25-EDO]].&amp;lt;/span&amp;gt;

&amp;lt;span class="hps"&amp;gt;La escala puede ser LcLcLcLcLc, ó inversamente cLcLcLcLcL. ('L' = intervalo largo &amp;amp; 'c' = intervalo corto) &amp;lt;/span&amp;gt;


==&amp;lt;span class="hps"&amp;gt;**Música**&amp;lt;/span&amp;gt;== 
[[http://www.youtube.com/watch?v=mPcbiBcWWJc|Enterprise]] por Sevish (20-EDO)&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;Escala Blackwood&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;La Escala Blackwood es un escala con 10 notas,&amp;lt;span class="hps"&amp;gt; utilizado por primera vez por Easley Blackwood Jr.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;Algunas afinaciones buenas para blackwood son &amp;lt;a class="wiki_link" href="/15%20EDO"&amp;gt;15-EDO&amp;lt;/a&amp;gt;, &amp;lt;a class="wiki_link" href="/20%20EDO"&amp;gt;20-EDO&amp;lt;/a&amp;gt;, y &amp;lt;a class="wiki_link" href="/25%20EDO"&amp;gt;25-EDO&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;La escala puede ser LcLcLcLcLc, ó inversamente cLcLcLcLcL. ('L' = intervalo largo &amp;amp;amp; 'c' = intervalo corto) &amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Música"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;Música&amp;lt;/strong&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.youtube.com/watch?v=mPcbiBcWWJc" rel="nofollow"&amp;gt;Enterprise&amp;lt;/a&amp;gt; por Sevish (20-EDO)&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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    </revision>
    <revision>
      <id>96</id>
      <timestamp>2011-09-20T10:11:48Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 256074034 - Original comment: **</comment>
      <origin>96</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2748" sha1="863b7cneld0j0lyt0sufvnat1d6ip1v" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 10:11:48 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;256074034&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;La Escala Blackwood es un escala con 10 notas,&amp;lt;span class="hps"&amp;gt; utilizó por primera vez por Easley Blackwood Jr.&amp;lt;/span&amp;gt;
&amp;lt;span class="hps"&amp;gt;Algunas afinaciones buenas por blackwood son [[15 EDO|15-EDO]], [[20 EDO|20-EDO]], y [[25 EDO|25-EDO]].&amp;lt;/span&amp;gt;

&amp;lt;span class="hps"&amp;gt;La escala puede ser GpGpGpGpGp, o pGpGpGpGpG. (p = pequeño paso, G = grande paso) &amp;lt;/span&amp;gt;


==&amp;lt;span class="hps"&amp;gt;**Música**&amp;lt;/span&amp;gt;== 
[[http://www.youtube.com/watch?v=mPcbiBcWWJc|Enterprise]] por Sevish (20-EDO)&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;Escala Blackwood&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;La Escala Blackwood es un escala con 10 notas,&amp;lt;span class="hps"&amp;gt; utilizó por primera vez por Easley Blackwood Jr.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;Algunas afinaciones buenas por blackwood son &amp;lt;a class="wiki_link" href="/15%20EDO"&amp;gt;15-EDO&amp;lt;/a&amp;gt;, &amp;lt;a class="wiki_link" href="/20%20EDO"&amp;gt;20-EDO&amp;lt;/a&amp;gt;, y &amp;lt;a class="wiki_link" href="/25%20EDO"&amp;gt;25-EDO&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;La escala puede ser GpGpGpGpGp, o pGpGpGpGpG. (p = pequeño paso, G = grande paso) &amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Música"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;Música&amp;lt;/strong&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.youtube.com/watch?v=mPcbiBcWWJc" rel="nofollow"&amp;gt;Enterprise&amp;lt;/a&amp;gt; por Sevish (20-EDO)&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>863b7cneld0j0lyt0sufvnat1d6ip1v</sha1>
    </revision>
    <revision>
      <id>97</id>
      <timestamp>2011-09-20T10:11:32Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 256073910 - Original comment: **</comment>
      <origin>97</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2730" sha1="qkfvdbw0ee29pxqso69ygblk5cl5rsb" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 10:11:32 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;256073910&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;La Escala Blackwood es un escala con 10 notas,&amp;lt;span class="hps"&amp;gt; utilizó por primera vez por Easley Blackwood Jr.&amp;lt;/span&amp;gt;
&amp;lt;span class="hps"&amp;gt;Algunas afinaciones buenas por blackwood son [[15 EDO|15-EDO]], [[20 EDO|20-EDO]], y [[25 EDO|25-EDO]].&amp;lt;/span&amp;gt;

&amp;lt;span class="hps"&amp;gt;La escala puede ser GpGpGpGpGp, o pGpGpGpGpG. (p = pequeño paso, G = grande paso) &amp;lt;/span&amp;gt;


==&amp;lt;span class="hps"&amp;gt;**Música**&amp;lt;/span&amp;gt;== 
[[http://www.youtube.com/watch?v=mPcbiBcWWJc|Enterprise]] por Sevish&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;Escala Blackwood&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;La Escala Blackwood es un escala con 10 notas,&amp;lt;span class="hps"&amp;gt; utilizó por primera vez por Easley Blackwood Jr.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;Algunas afinaciones buenas por blackwood son &amp;lt;a class="wiki_link" href="/15%20EDO"&amp;gt;15-EDO&amp;lt;/a&amp;gt;, &amp;lt;a class="wiki_link" href="/20%20EDO"&amp;gt;20-EDO&amp;lt;/a&amp;gt;, y &amp;lt;a class="wiki_link" href="/25%20EDO"&amp;gt;25-EDO&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;La escala puede ser GpGpGpGpGp, o pGpGpGpGpG. (p = pequeño paso, G = grande paso) &amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Música"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;span class="hps"&amp;gt;&amp;lt;strong&amp;gt;Música&amp;lt;/strong&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.youtube.com/watch?v=mPcbiBcWWJc" rel="nofollow"&amp;gt;Enterprise&amp;lt;/a&amp;gt; por Sevish&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>qkfvdbw0ee29pxqso69ygblk5cl5rsb</sha1>
    </revision>
    <revision>
      <id>98</id>
      <timestamp>2011-09-20T09:58:49Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 256068206 - Original comment: **</comment>
      <origin>98</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2190" sha1="i2o627cq6fjuzxxon7t7c1yun99n2hx" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 09:58:49 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;256068206&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;La Escala Blackwood es un escala con 10 notas,&amp;lt;span class="hps"&amp;gt; utilizó por primera vez por Easley Blackwood Jr.&amp;lt;/span&amp;gt;
&amp;lt;span class="hps"&amp;gt;Algunas afinaciones buenas por blackwood son [[15 EDO|15-EDO]], [[20 EDO|20-EDO]], y [[25 EDO|25-EDO]].&amp;lt;/span&amp;gt;

&amp;lt;span class="hps"&amp;gt;La escala puede ser GpGpGpGpGp, o pGpGpGpGpG. (p = pequeño paso, G = grande paso) &amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;Escala Blackwood&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;La Escala Blackwood es un escala con 10 notas,&amp;lt;span class="hps"&amp;gt; utilizó por primera vez por Easley Blackwood Jr.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;Algunas afinaciones buenas por blackwood son &amp;lt;a class="wiki_link" href="/15%20EDO"&amp;gt;15-EDO&amp;lt;/a&amp;gt;, &amp;lt;a class="wiki_link" href="/20%20EDO"&amp;gt;20-EDO&amp;lt;/a&amp;gt;, y &amp;lt;a class="wiki_link" href="/25%20EDO"&amp;gt;25-EDO&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;La escala puede ser GpGpGpGpGp, o pGpGpGpGpG. (p = pequeño paso, G = grande paso) &amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>i2o627cq6fjuzxxon7t7c1yun99n2hx</sha1>
    </revision>
  </page>
  <page>
    <title>Página principal</title>
    <ns>0</ns>
    <id>18</id>
    <redirect title="es:Bienvenidos" />
    <revision>
      <id>18</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
      </contributor>
      <origin>18</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="782" sha1="63l3c6orer9d4ntixwe8o58kuy3u97n" xml:space="preserve">¡Bienvenidos al wiki xenarmónico!,&lt;span style=""&gt; un recurso para que lo implemente cualquier persona interesada en música&lt;/span&gt; [[xenarmónico|xenarmónica]], microtonalismo, o&lt;span style=""&gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra [[:en:home aquí]]&lt;/span&gt; para&lt;span style=""&gt; más información&lt;/span&gt;.

&lt;span style=""&gt;Puedes comenzar comprendiendo en primera instancia lo que son los [[EDOs|EDOs.]] Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es MULTIVERSAL y no universal.&lt;/span&gt;

=='''Sitios Web'''==
[http://www.microtonalismo.com www.microtonalismo.com ], un sito dedicado al microtonalismo,&lt;span style=""&gt; destacando especialmente el [[17_EDO|17-EDO]].&lt;/span&gt;</text>
      <sha1>63l3c6orer9d4ntixwe8o58kuy3u97n</sha1>
    </revision>
    <revision>
      <id>99</id>
      <timestamp>2012-11-15T00:28:59Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 382660844 - Original comment: **</comment>
      <origin>99</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3469" sha1="0p3ka49sr1vigg3fgbxjnspiua22aja" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2012-11-15 00:28:59 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;382660844&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!,&amp;lt;span class="hps"&amp;gt; un recurso para que lo implemente cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico|xenarmónica]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt; para&amp;lt;span class="hps"&amp;gt; más información&amp;lt;/span&amp;gt;.

&amp;lt;span class="hps"&amp;gt;Puedes comenzar comprendiendo en primera instancia lo que son los [[EDOs|EDOs.]] Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es MULTIVERSAL y no universal.&amp;lt;/span&amp;gt;


==**Sitios Web**== 
[[http://www.microtonalismo.com|www.microtonalismo.com ]], un sito dedicado al microtonalismo,&amp;lt;span class="hps"&amp;gt; destacando especialmente el [[17 EDO|17-EDO]].&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!,&amp;lt;span class="hps"&amp;gt; un recurso para que lo implemente cualquier persona interesada en música&amp;lt;/span&amp;gt; &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónica&amp;lt;/a&amp;gt;, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/home"&amp;gt;aquí&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; para&amp;lt;span class="hps"&amp;gt; más información&amp;lt;/span&amp;gt;.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;Puedes comenzar comprendiendo en primera instancia lo que son los &amp;lt;a class="wiki_link" href="/EDOs"&amp;gt;EDOs.&amp;lt;/a&amp;gt; Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es MULTIVERSAL y no universal.&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Sitios Web"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;strong&amp;gt;Sitios Web&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com" rel="nofollow"&amp;gt;www.microtonalismo.com &amp;lt;/a&amp;gt;, un sito dedicado al microtonalismo,&amp;lt;span class="hps"&amp;gt; destacando especialmente el &amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17-EDO&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>0p3ka49sr1vigg3fgbxjnspiua22aja</sha1>
    </revision>
    <revision>
      <id>100</id>
      <timestamp>2011-09-19T23:45:09Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255937164 - Original comment: **</comment>
      <origin>100</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3197" sha1="876zxxmagobip4g13534zgzhwitd6s5" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 23:45:09 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255937164&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!,&amp;lt;span class="hps"&amp;gt; un recurso para que lo implemente cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico|xenarmónica]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt; para&amp;lt;span class="hps"&amp;gt; más información&amp;lt;/span&amp;gt;.

Si no sabes&amp;lt;span class="hps"&amp;gt; por donde empezar, puedes ir a la introducción, o comienza aquí, en [[EDOs|EDOs.]]&amp;lt;/span&amp;gt;


==**Sitios Web**== 
[[http://www.microtonalismo.com|www.microtonalismo.com ]], un sito dedicado al microtonalismo,&amp;lt;span class="hps"&amp;gt; destacando especialmente el [[17 EDO|17-EDO]].&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!,&amp;lt;span class="hps"&amp;gt; un recurso para que lo implemente cualquier persona interesada en música&amp;lt;/span&amp;gt; &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónica&amp;lt;/a&amp;gt;, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/home"&amp;gt;aquí&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; para&amp;lt;span class="hps"&amp;gt; más información&amp;lt;/span&amp;gt;.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Si no sabes&amp;lt;span class="hps"&amp;gt; por donde empezar, puedes ir a la introducción, o comienza aquí, en &amp;lt;a class="wiki_link" href="/EDOs"&amp;gt;EDOs.&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Sitios Web"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;strong&amp;gt;Sitios Web&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com" rel="nofollow"&amp;gt;www.microtonalismo.com &amp;lt;/a&amp;gt;, un sito dedicado al microtonalismo,&amp;lt;span class="hps"&amp;gt; destacando especialmente el &amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17-EDO&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>876zxxmagobip4g13534zgzhwitd6s5</sha1>
    </revision>
    <revision>
      <id>101</id>
      <timestamp>2011-09-19T21:07:06Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255888782 - Original comment: **</comment>
      <origin>101</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3161" sha1="qb7r8flgbplpbqzw7t0jn37s7wlskex" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 21:07:06 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255888782&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!,&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico|xenarmónica]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt; para&amp;lt;span class="hps"&amp;gt; más información&amp;lt;/span&amp;gt;.

Si no sabes&amp;lt;span class="hps"&amp;gt; por donde empezar, puedes ir a la introducción, o comienza aquí, en [[EDOs|EDOs.]]&amp;lt;/span&amp;gt;


==**Sitios Web**== 
[[http://www.microtonalismo.com|www.microtonalismo.com ]], un sito dedicado al microtonalismo,&amp;lt;span class="hps"&amp;gt; destacando especialmente el [[17 EDO|17-EDO]].&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!,&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónica&amp;lt;/a&amp;gt;, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/home"&amp;gt;aquí&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; para&amp;lt;span class="hps"&amp;gt; más información&amp;lt;/span&amp;gt;.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Si no sabes&amp;lt;span class="hps"&amp;gt; por donde empezar, puedes ir a la introducción, o comienza aquí, en &amp;lt;a class="wiki_link" href="/EDOs"&amp;gt;EDOs.&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Sitios Web"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;strong&amp;gt;Sitios Web&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com" rel="nofollow"&amp;gt;www.microtonalismo.com &amp;lt;/a&amp;gt;, un sito dedicado al microtonalismo,&amp;lt;span class="hps"&amp;gt; destacando especialmente el &amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17-EDO&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>qb7r8flgbplpbqzw7t0jn37s7wlskex</sha1>
    </revision>
    <revision>
      <id>102</id>
      <timestamp>2011-09-19T20:34:55Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255878140 - Original comment: **</comment>
      <origin>102</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3167" sha1="4190y4s7sx3bxklxrwjm5vjei5rp7uk" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 20:34:55 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255878140&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!,&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico|xenarmónica]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt; para&amp;lt;span class="hps"&amp;gt; más información&amp;lt;/span&amp;gt;.

Si no sabes&amp;lt;span class="hps"&amp;gt; por donde empezar, puedes ir a la introducción, o comienza aquí, en [[EDOs|EDOs.]]&amp;lt;/span&amp;gt;


==**Sitos de Web**== 
[[http://www.microtonalismo.com|www.microtonalismo.com ]], un sito dedicado al microtonalismo,&amp;lt;span class="hps"&amp;gt; destacando especialmente el [[17 EDO|17-EDO]].&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!,&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónica&amp;lt;/a&amp;gt;, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/home"&amp;gt;aquí&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; para&amp;lt;span class="hps"&amp;gt; más información&amp;lt;/span&amp;gt;.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Si no sabes&amp;lt;span class="hps"&amp;gt; por donde empezar, puedes ir a la introducción, o comienza aquí, en &amp;lt;a class="wiki_link" href="/EDOs"&amp;gt;EDOs.&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Sitos de Web"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;strong&amp;gt;Sitos de Web&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com" rel="nofollow"&amp;gt;www.microtonalismo.com &amp;lt;/a&amp;gt;, un sito dedicado al microtonalismo,&amp;lt;span class="hps"&amp;gt; destacando especialmente el &amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17-EDO&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>4190y4s7sx3bxklxrwjm5vjei5rp7uk</sha1>
    </revision>
    <revision>
      <id>103</id>
      <timestamp>2011-09-18T17:37:06Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255357968 - Original comment: **</comment>
      <origin>103</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3167" sha1="sh3lsrnsi6wlbp73nc1kypubs3pc2ra" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-18 17:37:06 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255357968&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!,&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico|xenarmónica]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt; para&amp;lt;span class="hps"&amp;gt; más información&amp;lt;/span&amp;gt;.

Si no sabes&amp;lt;span class="hps"&amp;gt; por donde empezar, puedes ir a la introducción, o comienza aquí, en [[EDOs|EDOs.]]&amp;lt;/span&amp;gt;


==**Sitos de Web**== 
[[http://www.microtonalismo.com|www.microtonalismo.com ]], un sito dedicado al microtonalismo,&amp;lt;span class="hps"&amp;gt; destacando especialmente el [[17 EDO|17-edo]].&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!,&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónica&amp;lt;/a&amp;gt;, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/home"&amp;gt;aquí&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; para&amp;lt;span class="hps"&amp;gt; más información&amp;lt;/span&amp;gt;.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Si no sabes&amp;lt;span class="hps"&amp;gt; por donde empezar, puedes ir a la introducción, o comienza aquí, en &amp;lt;a class="wiki_link" href="/EDOs"&amp;gt;EDOs.&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Sitos de Web"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;strong&amp;gt;Sitos de Web&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com" rel="nofollow"&amp;gt;www.microtonalismo.com &amp;lt;/a&amp;gt;, un sito dedicado al microtonalismo,&amp;lt;span class="hps"&amp;gt; destacando especialmente el &amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17-edo&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>sh3lsrnsi6wlbp73nc1kypubs3pc2ra</sha1>
    </revision>
    <revision>
      <id>104</id>
      <timestamp>2011-09-18T17:36:43Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255357834 - Original comment: **</comment>
      <origin>104</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3165" sha1="8bduqu6h1kkfiwc5fx3no0d85befm8p" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-18 17:36:43 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255357834&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!,&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico|xenarmónica]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Ingles se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt; para&amp;lt;span class="hps"&amp;gt; más información&amp;lt;/span&amp;gt;.

Si no sabes&amp;lt;span class="hps"&amp;gt; por donde empezar, puedes ir a la introducción, o comienza aquí, en [[EDOs|EDOs.]]&amp;lt;/span&amp;gt;


==**Sitos de Web**== 
[[http://www.microtonalismo.com|www.microtonalismo.com ]], un sito dedicado al microtonalismo,&amp;lt;span class="hps"&amp;gt; destacando especialmente el [[17 EDO|17-edo]].&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!,&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónica&amp;lt;/a&amp;gt;, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Ingles se encuentra &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/home"&amp;gt;aquí&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; para&amp;lt;span class="hps"&amp;gt; más información&amp;lt;/span&amp;gt;.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Si no sabes&amp;lt;span class="hps"&amp;gt; por donde empezar, puedes ir a la introducción, o comienza aquí, en &amp;lt;a class="wiki_link" href="/EDOs"&amp;gt;EDOs.&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Sitos de Web"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;strong&amp;gt;Sitos de Web&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com" rel="nofollow"&amp;gt;www.microtonalismo.com &amp;lt;/a&amp;gt;, un sito dedicado al microtonalismo,&amp;lt;span class="hps"&amp;gt; destacando especialmente el &amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17-edo&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>8bduqu6h1kkfiwc5fx3no0d85befm8p</sha1>
    </revision>
    <revision>
      <id>105</id>
      <timestamp>2011-09-16T12:30:24Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254794044 - Original comment: **</comment>
      <origin>105</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3230" sha1="m2v63r8kp8u7116f7bdxt3h20h4r2jp" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:30:24 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254794044&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Ingles se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt; por&amp;lt;span class="hps"&amp;gt; más información si hablarlo&amp;lt;/span&amp;gt;.

Si no pienses&amp;lt;span class="hps"&amp;gt; por dónde empezar, puedes ir a la introducción, o comenzar con el [[EDOs|EDOs.]]&amp;lt;/span&amp;gt;









==**Sitos de Web**== 
[[http://www.microtonalismo.com|www.microtonalismo.com ]], un sito dedico a microtonalismo,&amp;lt;span class="hps"&amp;gt; especialmente [[17 EDO|17-edo]].&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónico&amp;lt;/a&amp;gt;, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Ingles se encuentra &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/home"&amp;gt;aquí&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; por&amp;lt;span class="hps"&amp;gt; más información si hablarlo&amp;lt;/span&amp;gt;.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Si no pienses&amp;lt;span class="hps"&amp;gt; por dónde empezar, puedes ir a la introducción, o comenzar con el &amp;lt;a class="wiki_link" href="/EDOs"&amp;gt;EDOs.&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
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&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Sitos de Web"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;strong&amp;gt;Sitos de Web&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com" rel="nofollow"&amp;gt;www.microtonalismo.com &amp;lt;/a&amp;gt;, un sito dedico a microtonalismo,&amp;lt;span class="hps"&amp;gt; especialmente &amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17-edo&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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    <revision>
      <id>106</id>
      <timestamp>2011-09-16T12:30:10Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254793938 - Original comment: **</comment>
      <origin>106</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3238" sha1="l5ssnmx14wzwwtmzzycr7ftz2ayu5fd" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:30:10 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254793938&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Ingles se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt; por&amp;lt;span class="hps"&amp;gt; más información si hablarlo&amp;lt;/span&amp;gt;.

Si no pienses&amp;lt;span class="hps"&amp;gt; por dónde empezar, puedes ir a la introducción, o comenzar con el [[EDOs|EDOs.]]&amp;lt;/span&amp;gt;









==**Sitos de Web**== 
[[http://www.microtonalismo.com|www.microtonalismo.com ]], un sito dedico a microtonalismo,&amp;lt;span class="hps"&amp;gt; especialmente con [[17 EDO|17-edo]].&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónico&amp;lt;/a&amp;gt;, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Ingles se encuentra &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/home"&amp;gt;aquí&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; por&amp;lt;span class="hps"&amp;gt; más información si hablarlo&amp;lt;/span&amp;gt;.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Si no pienses&amp;lt;span class="hps"&amp;gt; por dónde empezar, puedes ir a la introducción, o comenzar con el &amp;lt;a class="wiki_link" href="/EDOs"&amp;gt;EDOs.&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
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&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Sitos de Web"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;strong&amp;gt;Sitos de Web&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com" rel="nofollow"&amp;gt;www.microtonalismo.com &amp;lt;/a&amp;gt;, un sito dedico a microtonalismo,&amp;lt;span class="hps"&amp;gt; especialmente con &amp;lt;a class="wiki_link" href="/17%20EDO"&amp;gt;17-edo&amp;lt;/a&amp;gt;.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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    <revision>
      <id>107</id>
      <timestamp>2011-09-16T12:27:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254792426 - Original comment: **</comment>
      <origin>107</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="3173" sha1="2omesss1tdyegxopwazx46rlpkkg00z" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:27:00 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254792426&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Ingles se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt; por&amp;lt;span class="hps"&amp;gt; más información si hablarlo&amp;lt;/span&amp;gt;.

Si no pienses&amp;lt;span class="hps"&amp;gt; por dónde empezar, puedes ir a la introducción, o comenzar con el [[EDOs|EDOs.]]&amp;lt;/span&amp;gt;









==**Sitos de Web**== 
[[http://www.microtonalismo.com|www.microtonalismo.com ]], un sito dedico a microtonalismo,&amp;lt;span class="hps"&amp;gt; especialmente con 17-edo.&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónico&amp;lt;/a&amp;gt;, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Ingles se encuentra &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/home"&amp;gt;aquí&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; por&amp;lt;span class="hps"&amp;gt; más información si hablarlo&amp;lt;/span&amp;gt;.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
Si no pienses&amp;lt;span class="hps"&amp;gt; por dónde empezar, puedes ir a la introducción, o comenzar con el &amp;lt;a class="wiki_link" href="/EDOs"&amp;gt;EDOs.&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
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&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Sitos de Web"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;strong&amp;gt;Sitos de Web&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com" rel="nofollow"&amp;gt;www.microtonalismo.com &amp;lt;/a&amp;gt;, un sito dedico a microtonalismo,&amp;lt;span class="hps"&amp;gt; especialmente con 17-edo.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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    <revision>
      <id>108</id>
      <timestamp>2011-09-16T12:16:52Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254788248 - Original comment: **</comment>
      <origin>108</origin>
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      <text bytes="2810" sha1="c27uw4jj9cuv9xvbalnezgmnlbultco" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:16:52 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254788248&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Ingles se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt; por&amp;lt;span class="hps"&amp;gt; más información si hablarlo&amp;lt;/span&amp;gt;.







==**Sitos de Web**== 
[[http://www.microtonalismo.com|www.microtonalismo.com ]], un sito dedico a microtonalismo,&amp;lt;span class="hps"&amp;gt; especialmente con 17-edo.&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónico&amp;lt;/a&amp;gt;, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Ingles se encuentra &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/home"&amp;gt;aquí&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt; por&amp;lt;span class="hps"&amp;gt; más información si hablarlo&amp;lt;/span&amp;gt;.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Sitos de Web"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;&amp;lt;strong&amp;gt;Sitos de Web&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;a class="wiki_link_ext" href="http://www.microtonalismo.com" rel="nofollow"&amp;gt;www.microtonalismo.com &amp;lt;/a&amp;gt;, un sito dedico a microtonalismo,&amp;lt;span class="hps"&amp;gt; especialmente con 17-edo.&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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    <revision>
      <id>109</id>
      <timestamp>2011-09-16T12:14:07Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254786994 - Original comment: **</comment>
      <origin>109</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2087" sha1="49pbroqe6mu9fy7xsvor24nocmu2xly" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:14:07 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254786994&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. Nuestro sito en Ingles se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt; por&amp;lt;span class="hps"&amp;gt; más información si hablarlo&amp;lt;/span&amp;gt;.&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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    <revision>
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      <timestamp>2011-09-16T12:10:38Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254785494 - Original comment: **</comment>
      <origin>110</origin>
      <model>wikitext</model>
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      <text bytes="2047" sha1="srvt0h52gc9lvklqow8qzbni5btz9v1" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:10:38 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254785494&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. &amp;lt;/span&amp;gt;

&amp;lt;span class="hps"&amp;gt;Nuestro sito en Ingles se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt;.&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónico&amp;lt;/a&amp;gt;, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. &amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;Nuestro sito en Ingles se encuentra &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/home"&amp;gt;aquí&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt;.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
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      <comment>**Imported revision 254785418 - Original comment: **</comment>
      <origin>111</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2063" sha1="imucuugojkaift7clxp41f7k9fm83w5" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:10:26 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254785418&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; [[xenarmónico]], microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. &amp;lt;/span&amp;gt;

&amp;lt;span class="hps"&amp;gt;Nuestro sito hermana en Ingles se encuentra [[xenharmonic/home|aquí]]&amp;lt;/span&amp;gt;.&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt; &amp;lt;a class="wiki_link" href="/xenarm%C3%B3nico"&amp;gt;xenarmónico&amp;lt;/a&amp;gt;, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. &amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;span class="hps"&amp;gt;Nuestro sito hermana en Ingles se encuentra &amp;lt;a class="wiki_link" href="http://xenharmonic.wikispaces.com/home"&amp;gt;aquí&amp;lt;/a&amp;gt;&amp;lt;/span&amp;gt;.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>imucuugojkaift7clxp41f7k9fm83w5</sha1>
    </revision>
    <revision>
      <id>112</id>
      <timestamp>2011-09-16T11:59:23Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254780578 - Original comment: **</comment>
      <origin>112</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1689" sha1="dksne8haghek18lrewctkmy7sxwigvp" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 11:59:23 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254780578&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt;xenarmónico, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. &amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;span class="hps"&amp;gt; un recurso para cualquier persona interesada en música&amp;lt;/span&amp;gt;xenarmónico, microtonalismo, o&amp;lt;span class="hps"&amp;gt; afinaciones alternativas en general. &amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>dksne8haghek18lrewctkmy7sxwigvp</sha1>
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    <revision>
      <id>113</id>
      <timestamp>2011-09-16T11:50:53Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254776746 - Original comment: **</comment>
      <origin>113</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1291" sha1="ktpbzfuye2mxh5q8jd947qtpqvb4y0p" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 11:50:53 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254776746&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;¡Bienvenidos al wiki xenarmónico!&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;home&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;¡Bienvenidos al wiki xenarmónico!&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>ktpbzfuye2mxh5q8jd947qtpqvb4y0p</sha1>
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    <revision>
      <id>154</id>
      <parentid>18</parentid>
      <timestamp>2018-09-14T19:38:06Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>Battaglia01 trasladó la página [[Home]] a [[Página principal]]: Home page</comment>
      <origin>154</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="782" sha1="63l3c6orer9d4ntixwe8o58kuy3u97n" xml:space="preserve">¡Bienvenidos al wiki xenarmónico!,&lt;span style=""&gt; un recurso para que lo implemente cualquier persona interesada en música&lt;/span&gt; [[xenarmónico|xenarmónica]], microtonalismo, o&lt;span style=""&gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra [[:en:home aquí]]&lt;/span&gt; para&lt;span style=""&gt; más información&lt;/span&gt;.

&lt;span style=""&gt;Puedes comenzar comprendiendo en primera instancia lo que son los [[EDOs|EDOs.]] Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es MULTIVERSAL y no universal.&lt;/span&gt;

=='''Sitios Web'''==
[http://www.microtonalismo.com www.microtonalismo.com ], un sito dedicado al microtonalismo,&lt;span style=""&gt; destacando especialmente el [[17_EDO|17-EDO]].&lt;/span&gt;</text>
      <sha1>63l3c6orer9d4ntixwe8o58kuy3u97n</sha1>
    </revision>
    <revision>
      <id>161</id>
      <parentid>154</parentid>
      <timestamp>2018-09-17T00:04:04Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>Texto reemplazado: «(\[\[\:(dev|es|purdal|de|en):[^[:space:]\|]*) (.*])» por «$1|$3»</comment>
      <origin>161</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="782" sha1="3mw4ogxjctm6ohtxta1bbm6upnogecd" xml:space="preserve">¡Bienvenidos al wiki xenarmónico!,&lt;span style=""&gt; un recurso para que lo implemente cualquier persona interesada en música&lt;/span&gt; [[xenarmónico|xenarmónica]], microtonalismo, o&lt;span style=""&gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra [[:en:home|aquí]]&lt;/span&gt; para&lt;span style=""&gt; más información&lt;/span&gt;.

&lt;span style=""&gt;Puedes comenzar comprendiendo en primera instancia lo que son los [[EDOs|EDOs.]] Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es MULTIVERSAL y no universal.&lt;/span&gt;

=='''Sitios Web'''==
[http://www.microtonalismo.com www.microtonalismo.com ], un sito dedicado al microtonalismo,&lt;span style=""&gt; destacando especialmente el [[17_EDO|17-EDO]].&lt;/span&gt;</text>
      <sha1>3mw4ogxjctm6ohtxta1bbm6upnogecd</sha1>
    </revision>
    <revision>
      <id>162</id>
      <parentid>161</parentid>
      <timestamp>2018-09-17T00:04:31Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>Revertidos los cambios de [[Special:Contributions/Battaglia01|Battaglia01]] ([[User talk:Battaglia01|disc.]]) a la última edición de [[User:Wikispaces&gt;FREEZE|Wikispaces&gt;FREEZE]]</comment>
      <origin>162</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="782" sha1="63l3c6orer9d4ntixwe8o58kuy3u97n" xml:space="preserve">¡Bienvenidos al wiki xenarmónico!,&lt;span style=""&gt; un recurso para que lo implemente cualquier persona interesada en música&lt;/span&gt; [[xenarmónico|xenarmónica]], microtonalismo, o&lt;span style=""&gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra [[:en:home aquí]]&lt;/span&gt; para&lt;span style=""&gt; más información&lt;/span&gt;.

&lt;span style=""&gt;Puedes comenzar comprendiendo en primera instancia lo que son los [[EDOs|EDOs.]] Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es MULTIVERSAL y no universal.&lt;/span&gt;

=='''Sitios Web'''==
[http://www.microtonalismo.com www.microtonalismo.com ], un sito dedicado al microtonalismo,&lt;span style=""&gt; destacando especialmente el [[17_EDO|17-EDO]].&lt;/span&gt;</text>
      <sha1>63l3c6orer9d4ntixwe8o58kuy3u97n</sha1>
    </revision>
    <revision>
      <id>165</id>
      <parentid>162</parentid>
      <timestamp>2018-09-17T00:06:07Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <origin>165</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="782" sha1="3mw4ogxjctm6ohtxta1bbm6upnogecd" xml:space="preserve">¡Bienvenidos al wiki xenarmónico!,&lt;span style=""&gt; un recurso para que lo implemente cualquier persona interesada en música&lt;/span&gt; [[xenarmónico|xenarmónica]], microtonalismo, o&lt;span style=""&gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra [[:en:home|aquí]]&lt;/span&gt; para&lt;span style=""&gt; más información&lt;/span&gt;.

&lt;span style=""&gt;Puedes comenzar comprendiendo en primera instancia lo que son los [[EDOs|EDOs.]] Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es MULTIVERSAL y no universal.&lt;/span&gt;

=='''Sitios Web'''==
[http://www.microtonalismo.com www.microtonalismo.com ], un sito dedicado al microtonalismo,&lt;span style=""&gt; destacando especialmente el [[17_EDO|17-EDO]].&lt;/span&gt;</text>
      <sha1>3mw4ogxjctm6ohtxta1bbm6upnogecd</sha1>
    </revision>
    <revision>
      <id>267</id>
      <parentid>165</parentid>
      <timestamp>2018-10-13T23:22:30Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>added interwiki de, en</comment>
      <origin>267</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="821" sha1="fueeplp8pv5usuh5pbsvivcp9on2ukl" xml:space="preserve">{{interwiki
| de = home
| en = home
}}
¡Bienvenidos al wiki xenarmónico!,&lt;span style=""&gt; un recurso para que lo implemente cualquier persona interesada en música&lt;/span&gt; [[xenarmónico|xenarmónica]], microtonalismo, o&lt;span style=""&gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra [[:en:home|aquí]]&lt;/span&gt; para&lt;span style=""&gt; más información&lt;/span&gt;.

&lt;span style=""&gt;Puedes comenzar comprendiendo en primera instancia lo que son los [[EDOs|EDOs.]] Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es MULTIVERSAL y no universal.&lt;/span&gt;

=='''Sitios Web'''==
[http://www.microtonalismo.com www.microtonalismo.com ], un sito dedicado al microtonalismo,&lt;span style=""&gt; destacando especialmente el [[17_EDO|17-EDO]].&lt;/span&gt;</text>
      <sha1>fueeplp8pv5usuh5pbsvivcp9on2ukl</sha1>
    </revision>
    <revision>
      <id>268</id>
      <parentid>267</parentid>
      <timestamp>2018-10-13T23:24:49Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>completed interwiki</comment>
      <origin>268</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="903" sha1="myybba5wnwek58mmcs8z77ikef31a9s" xml:space="preserve">{{interwiki
| de = Hauptseite
| en = Main Page
| es = Página principal
| ja = ようこそ！Xenharmonicの世界へ
}}
¡Bienvenidos al wiki xenarmónico!,&lt;span style=""&gt; un recurso para que lo implemente cualquier persona interesada en música&lt;/span&gt; [[xenarmónico|xenarmónica]], microtonalismo, o&lt;span style=""&gt; afinaciones alternativas en general. Nuestro sito en Inglés se encuentra [[:en:home|aquí]]&lt;/span&gt; para&lt;span style=""&gt; más información&lt;/span&gt;.

&lt;span style=""&gt;Puedes comenzar comprendiendo en primera instancia lo que son los [[EDOs|EDOs.]] Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es MULTIVERSAL y no universal.&lt;/span&gt;

=='''Sitios Web'''==
[http://www.microtonalismo.com www.microtonalismo.com ], un sito dedicado al microtonalismo,&lt;span style=""&gt; destacando especialmente el [[17_EDO|17-EDO]].&lt;/span&gt;</text>
      <sha1>myybba5wnwek58mmcs8z77ikef31a9s</sha1>
    </revision>
    <revision>
      <id>291</id>
      <parentid>268</parentid>
      <timestamp>2018-10-15T11:31:23Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>content was moved to [[Bienvenidos]] before</comment>
      <origin>291</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="25" sha1="kmtglhanu9zae9zfr7m2nugc27ppe3p" xml:space="preserve">#redirect [[Bienvenidos]]</text>
      <sha1>kmtglhanu9zae9zfr7m2nugc27ppe3p</sha1>
    </revision>
    <revision>
      <id>293</id>
      <parentid>291</parentid>
      <timestamp>2018-10-15T11:33:31Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>hard redirect for main page</comment>
      <origin>293</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="29" sha1="2nddj99hbhmte3j5tcet6j5rqx5bqrm" xml:space="preserve">#redirect [[:es:Bienvenidos]]</text>
      <sha1>2nddj99hbhmte3j5tcet6j5rqx5bqrm</sha1>
    </revision>
  </page>
  <page>
    <title>Introducción</title>
    <ns>0</ns>
    <id>19</id>
    <revision>
      <id>19</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
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      <origin>19</origin>
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      <text bytes="35" sha1="ron8n289xr3o125wjulmlgq8393bnhh" xml:space="preserve">&lt;span style=""&gt;introducción&lt;/span&gt;</text>
      <sha1>ron8n289xr3o125wjulmlgq8393bnhh</sha1>
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    <revision>
      <id>114</id>
      <timestamp>2011-09-16T12:39:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254797346 - Original comment: **</comment>
      <origin>114</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1330" sha1="h5youjlwsf8zpffggf1huy5kr4fmjls" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:39:00 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254797346&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;span class="hps"&amp;gt;introducción&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;Introducción&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;span class="hps"&amp;gt;introducción&amp;lt;/span&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>h5youjlwsf8zpffggf1huy5kr4fmjls</sha1>
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  </page>
  <page>
    <title>Octava</title>
    <ns>0</ns>
    <id>20</id>
    <revision>
      <id>20</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
      </contributor>
      <origin>20</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="156" sha1="2mucxuza8aqwnl9y8k5auo4gj2ucemj" xml:space="preserve">La Octava es un término empleado y cuestionado en la música para designar lo que es el Duplo de una frecuencia. Es representado con el ratio justo de 2/1.</text>
      <sha1>2mucxuza8aqwnl9y8k5auo4gj2ucemj</sha1>
    </revision>
    <revision>
      <id>115</id>
      <timestamp>2011-09-19T20:46:08Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255881772 - Original comment: **</comment>
      <origin>115</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1542" sha1="f81z452qtj8cbebo0npjwsazw9luqfw" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 20:46:08 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255881772&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;La Octava es un término empleado y cuestionado en la música para designar lo que es el Duplo de una frecuencia. Es representado con el ratio justo de 2/1. &lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;octava&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;La Octava es un término empleado y cuestionado en la música para designar lo que es el Duplo de una frecuencia. Es representado con el ratio justo de 2/1.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>f81z452qtj8cbebo0npjwsazw9luqfw</sha1>
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    <revision>
      <id>116</id>
      <timestamp>2011-09-18T12:32:04Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255291376 - Original comment: **</comment>
      <origin>116</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1229" sha1="ml10k52t10is85ltq2bsi0oe14zspmi" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 12:32:04 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255291376&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;...&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;octava&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;...&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>ml10k52t10is85ltq2bsi0oe14zspmi</sha1>
    </revision>
    <revision>
      <id>258</id>
      <parentid>20</parentid>
      <timestamp>2018-10-11T13:14:22Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>+interwiki de, en</comment>
      <origin>258</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="204" sha1="fnj23h7rn5fpms8k8q8m2rr3uqvtxzh" xml:space="preserve">La Octava es un término empleado y cuestionado en la música para designar lo que es el Duplo de una frecuencia. Es representado con el ratio justo de 2/1.

&lt;!-- interwiki --&gt;
[[de:Oktave]]
[[en:Octave]]</text>
      <sha1>fnj23h7rn5fpms8k8q8m2rr3uqvtxzh</sha1>
    </revision>
    <revision>
      <id>272</id>
      <parentid>258</parentid>
      <timestamp>2018-10-14T20:51:46Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>replaced interwiki solution</comment>
      <origin>272</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="236" sha1="i2zrtcecd3aaj6ldri9agq2l2ydpst1" xml:space="preserve">{{interwiki
| de = Oktave
| en = Octave
| es = Octava
| ja = オクターブ
}}
La Octava es un término empleado y cuestionado en la música para designar lo que es el Duplo de una frecuencia. Es representado con el ratio justo de 2/1.</text>
      <sha1>i2zrtcecd3aaj6ldri9agq2l2ydpst1</sha1>
    </revision>
  </page>
  <page>
    <title>Space.menu</title>
    <ns>0</ns>
    <id>21</id>
    <revision>
      <id>21</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
      </contributor>
      <origin>21</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1188" sha1="7a1kguo3zqc2znvh0ct5udk10qelu92" xml:space="preserve">&lt;span style=""&gt;''''''''&lt;/span&gt;&lt;span style=""&gt;Favorites ''''&lt;/span&gt;        &lt;span style=""&gt;20&lt;/span&gt;&lt;ol&gt;&lt;/ol&gt;              ''''&lt;span style=""&gt;''''&lt;/span&gt;&lt;span style=""&gt;''''''''&lt;/span&gt;&lt;span style=""&gt;All Pages&lt;/span&gt;        &lt;span style=""&gt;20&lt;/span&gt;&lt;ol&gt;  &lt;li&gt;    [[home|home]]  &lt;/li&gt;  &lt;li&gt;    [[12_EDO|12 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[16_EDO|16 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[17_EDO|17 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[19_EDO|19 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[20_EDO|20 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[23_EDO|23 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[24_EDO|24 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[25_EDO|25 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[31_EDO|31 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[5_EDO|5 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[55_EDO|55 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[6_EDO|6 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[7_EDO|7 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[EDOs|EDOs]]  &lt;/li&gt;  &lt;li&gt;    [[EDTs|EDTs]]  &lt;/li&gt;  &lt;li&gt;    [[Escala_Blackwood|Escala Blackwood]]  &lt;/li&gt;  &lt;li&gt;    [[Introducción|Introducción]]  &lt;/li&gt;  &lt;li&gt;    [[octava|octava]]  &lt;/li&gt;  &lt;li&gt;    [[Temperamento_Circular|Temperamento Circular]]  &lt;/li&gt;&lt;/ol&gt;  [[#|see more]]                                                            &lt;span style=""&gt;Add&lt;/span&gt;                                              &lt;span style=""&gt;Add "All Pages"&lt;/span&gt;        Done        ''''</text>
      <sha1>7a1kguo3zqc2znvh0ct5udk10qelu92</sha1>
    </revision>
    <revision>
      <id>117</id>
      <timestamp>2011-09-16T12:12:33Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 254786344 - Original comment: **</comment>
      <origin>117</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="6846" sha1="reswg4j65rv2dertt4pukpvcygpsjpv" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:12:33 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254786344&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;[[include component="navigation" ]]&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;space.menu&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextIncludeRule:00:&amp;amp;lt;img src=&amp;amp;quot;http://www.wikispaces.com/site/embedthumbnail/include/navigation?w=200&amp;amp;amp;h=100&amp;amp;quot; class=&amp;amp;quot;WikiMedia WikiMediaInclude&amp;amp;quot; id=&amp;amp;quot;wikitext@@include@@component=&amp;amp;amp;quot;navigation&amp;amp;amp;quot;&amp;amp;quot; title=&amp;amp;quot;Include navigation: component=&amp;amp;amp;quot;navigation&amp;amp;amp;quot;&amp;amp;quot; /&amp;amp;gt; --&amp;gt;&amp;lt;div class="WikispacesNavbar" data-spaceid="9095562" data-navbarurl="/navbar"&amp;gt;
  &amp;lt;div id="WikispacesNavbarFavoritesEntry" data-entryid="11913134" class="WikispacesNavbarEntry"&amp;gt;
  &amp;lt;div class="WikispacesNavbarEntryHeader"&amp;gt;
        &amp;lt;span class="fa-fw"&amp;gt;&amp;lt;i class="WikispacesNavbarToggle WikispacesNavbarPlus fa fa-caret-right"&amp;gt;&amp;lt;/i&amp;gt;&amp;lt;i class="WikispacesNavbarToggle WikispacesNavbarMinus fa fa-caret-down"&amp;gt;&amp;lt;/i&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;span&amp;gt;Favorites&amp;amp;nbsp;&amp;lt;i class="fa fa-star"&amp;gt;&amp;lt;/i&amp;gt;&amp;lt;/span&amp;gt;
  &amp;lt;/div&amp;gt;
  &amp;lt;div class="WikispacesNavbarEntryItems" id="WikispacesNavbarFavoritesEntryItems"&amp;gt;
    &amp;lt;span class="hidden WikispacesNavbarNum"&amp;gt;20&amp;lt;/span&amp;gt;
&amp;lt;ol&amp;gt;
&amp;lt;/ol&amp;gt;
  &amp;lt;/div&amp;gt;
&amp;lt;/div&amp;gt;  &amp;lt;div id="WikispacesNavbarAllPagesEntry" data-entryid="11913136" class="WikispacesNavbarEntry WikispacesNavbarSortableEntry WikispacesNavbarRemovableEntry"&amp;gt;
  &amp;lt;div class="WikispacesNavbarEntryHeader"&amp;gt;
        &amp;lt;i class="WikispacesNavbarSpinner fa fa-spinner fa-spin pull-right"&amp;gt;&amp;lt;/i&amp;gt;&amp;lt;span class="WikispacesNavbarHeaderAction WikispacesNavbarRemoveEntry close"&amp;gt;&amp;lt;i class="fa fa-times"&amp;gt;&amp;lt;/i&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;span class="fa-fw"&amp;gt;&amp;lt;i class="WikispacesNavbarToggle WikispacesNavbarPlus fa fa-caret-right"&amp;gt;&amp;lt;/i&amp;gt;&amp;lt;i class="WikispacesNavbarToggle WikispacesNavbarMinus fa fa-caret-down"&amp;gt;&amp;lt;/i&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;span&amp;gt;All Pages&amp;lt;/span&amp;gt;
  &amp;lt;/div&amp;gt;
  &amp;lt;div class="WikispacesNavbarEntryItems" id="WikispacesNavbarAllPagesEntryItems"&amp;gt;
    &amp;lt;span class="hidden WikispacesNavbarNum"&amp;gt;20&amp;lt;/span&amp;gt;
&amp;lt;ol&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/home" data-uniqid="77426990"&amp;gt;home&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/12+EDO" data-uniqid="77432224"&amp;gt;12 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/16+EDO" data-uniqid="77655470"&amp;gt;16 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/17+EDO" data-uniqid="77432290"&amp;gt;17 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/19+EDO" data-uniqid="77959394"&amp;gt;19 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/20+EDO" data-uniqid="77949014"&amp;gt;20 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/23+EDO" data-uniqid="77948682"&amp;gt;23 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/24+EDO" data-uniqid="77432342"&amp;gt;24 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/25+EDO" data-uniqid="77948736"&amp;gt;25 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/31+EDO" data-uniqid="77948866"&amp;gt;31 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/5+EDO" data-uniqid="77645506"&amp;gt;5 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/55+EDO" data-uniqid="77948774"&amp;gt;55 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/6+EDO" data-uniqid="77645532"&amp;gt;6 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/7+EDO" data-uniqid="77645496"&amp;gt;7 EDO&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/EDOs" data-uniqid="77431496"&amp;gt;EDOs&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/EDTs" data-uniqid="77954836"&amp;gt;EDTs&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/Escala+Blackwood" data-uniqid="77949104"&amp;gt;Escala Blackwood&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/Introducci%C3%B3n" data-uniqid="77434696"&amp;gt;Introducción&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/octava" data-uniqid="77645374"&amp;gt;octava&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
  &amp;lt;li&amp;gt;
    &amp;lt;a href="/Temperamento+Circular" data-uniqid="77958552"&amp;gt;Temperamento Circular&amp;lt;/a&amp;gt;
  &amp;lt;/li&amp;gt;
&amp;lt;/ol&amp;gt;
  &amp;lt;div class="WikispacesNavbarSeeMoreDiv"&amp;gt;&amp;lt;a href="#" class="WikispacesNavbarSeeMore"&amp;gt;see more&amp;lt;/a&amp;gt;&amp;lt;/div&amp;gt;
  &amp;lt;/div&amp;gt;
&amp;lt;/div&amp;gt;  &amp;lt;div id="WikispacesNavbarTags"&amp;gt;
    &amp;lt;/div&amp;gt;
  &amp;lt;div id="WikispacesNavbarOptions" class="WikispacesNavbarEntry WikispacesContent WikispacesBs3"&amp;gt;
    &amp;lt;div id="WikispacesNavbarOptionsEntryItems" class="WikispacesNavbarEntryItems"&amp;gt;
      &amp;lt;form class="WikispacesNavbarNewTagNavbarForm" action="/navbar/tag" method="post"&amp;gt;
        &amp;lt;div class="input-group"&amp;gt;
          &amp;lt;input type="text" name="tagName" placeholder="Tag" class="form-control" style="width: 135px;"/&amp;gt;
          &amp;lt;div class="input-group-btn"&amp;gt;
            &amp;lt;button type="submit" name="submitTag" value="1" class="btn btn-default ws-btn-spinner"&amp;gt;&amp;lt;span&amp;gt;Add&amp;lt;/span&amp;gt;&amp;lt;/button&amp;gt;
          &amp;lt;/div&amp;gt;
        &amp;lt;/div&amp;gt;
      &amp;lt;/form&amp;gt;
      &amp;lt;form class="WikispacesNavbarShowAllPagesForm text-center" action="/navbar/update/11913136" method="post"&amp;gt;
        &amp;lt;input type="hidden" name="status" value="A" /&amp;gt;
        &amp;lt;button type="submit" class="btn btn-default WikispacesNavbarShowAllPages ws-btn-spinner hidden" name="go" value="1"&amp;gt;&amp;lt;span&amp;gt;Add "All Pages"&amp;lt;/span&amp;gt;&amp;lt;/button&amp;gt;
        &amp;lt;button type="button" class="btn btn-primary WikispacesNavbarEditDone"&amp;gt;Done&amp;lt;/button&amp;gt;
        &amp;lt;i class="fa fa-spinner fa-spin hidden"&amp;gt;&amp;lt;/i&amp;gt;
      &amp;lt;/form&amp;gt;
    &amp;lt;/div&amp;gt;
  &amp;lt;/div&amp;gt;
&amp;lt;/div&amp;gt;&amp;lt;!-- ws:end:WikiTextIncludeRule:00 --&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
      <sha1>reswg4j65rv2dertt4pukpvcygpsjpv</sha1>
    </revision>
    <revision>
      <id>243</id>
      <parentid>21</parentid>
      <timestamp>2018-10-06T14:10:38Z</timestamp>
      <contributor>
        <username>PG's sock that dumps pages here</username>
        <id>5</id>
      </contributor>
      <comment>space is made of space</comment>
      <origin>243</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="28" sha1="t3z9i7de4jct5ys8vd1khu9661633fg" xml:space="preserve">#redirect [[:es:space.menu]]</text>
      <sha1>t3z9i7de4jct5ys8vd1khu9661633fg</sha1>
    </revision>
    <revision>
      <id>304</id>
      <parentid>243</parentid>
      <timestamp>2018-11-14T15:26:55Z</timestamp>
      <contributor>
        <username>Tyler</username>
        <id>1</id>
      </contributor>
      <minor/>
      <comment>Revertidos los cambios de [[Special:Contributions/PG's sock that dumps pages here|PG's sock that dumps pages here]] ([[User talk:PG's sock that dumps pages here|disc.]]) a la última edición de [[User:Wikispaces&gt;FREEZE|Wikispaces&gt;FREEZE]]</comment>
      <origin>304</origin>
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      <text bytes="1188" sha1="7a1kguo3zqc2znvh0ct5udk10qelu92" xml:space="preserve">&lt;span style=""&gt;''''''''&lt;/span&gt;&lt;span style=""&gt;Favorites ''''&lt;/span&gt;        &lt;span style=""&gt;20&lt;/span&gt;&lt;ol&gt;&lt;/ol&gt;              ''''&lt;span style=""&gt;''''&lt;/span&gt;&lt;span style=""&gt;''''''''&lt;/span&gt;&lt;span style=""&gt;All Pages&lt;/span&gt;        &lt;span style=""&gt;20&lt;/span&gt;&lt;ol&gt;  &lt;li&gt;    [[home|home]]  &lt;/li&gt;  &lt;li&gt;    [[12_EDO|12 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[16_EDO|16 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[17_EDO|17 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[19_EDO|19 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[20_EDO|20 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[23_EDO|23 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[24_EDO|24 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[25_EDO|25 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[31_EDO|31 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[5_EDO|5 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[55_EDO|55 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[6_EDO|6 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[7_EDO|7 EDO]]  &lt;/li&gt;  &lt;li&gt;    [[EDOs|EDOs]]  &lt;/li&gt;  &lt;li&gt;    [[EDTs|EDTs]]  &lt;/li&gt;  &lt;li&gt;    [[Escala_Blackwood|Escala Blackwood]]  &lt;/li&gt;  &lt;li&gt;    [[Introducción|Introducción]]  &lt;/li&gt;  &lt;li&gt;    [[octava|octava]]  &lt;/li&gt;  &lt;li&gt;    [[Temperamento_Circular|Temperamento Circular]]  &lt;/li&gt;&lt;/ol&gt;  [[#|see more]]                                                            &lt;span style=""&gt;Add&lt;/span&gt;                                              &lt;span style=""&gt;Add "All Pages"&lt;/span&gt;        Done        ''''</text>
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    <title>Temperamento Circular</title>
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      <text bytes="119" sha1="i803lmq5g6y8lit4p45g0hq31xidfbe" xml:space="preserve">Un temperamento circular es un temperamento que no es 100% igual.

&lt;span style=""&gt;&lt;youtube&gt;G6ihF82lvEA&lt;/youtube&gt;&lt;/span&gt;</text>
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      <comment>**Imported revision 256082234 - Original comment: **</comment>
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      <text bytes="2235" sha1="3v3bhk6n8h3c8ipjquvzo46bjpmjce0" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 10:29:33 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;Un temperamento circular es un temperamento que no es 100% igual.

&amp;lt;span class="hps"&amp;gt;[[media type="youtube" key="G6ihF82lvEA" height="315" width="560"]]&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
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    <title>Temperamento ircular</title>
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      <comment>**Imported revision 256082096 - Original comment: **</comment>
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      <text bytes="1238" sha1="dpaza7mxjwngb4w1aefca28ct4f7u8j" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 10:29:14 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt; &lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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      <comment>**Imported revision 256081760 - Original comment: **</comment>
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      <text bytes="2234" sha1="jo5gg0kek6wusuq3humwtmii8nyvbch" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 10:28:29 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;Un temperamento circular es un temperamento que no es 100% igual.

&amp;lt;span class="hps"&amp;gt;[[media type="youtube" key="G6ihF82lvEA" height="315" width="560"]]&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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      <comment>**Imported revision 256081672 - Original comment: **</comment>
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      <text bytes="2348" sha1="cv9bsgvanqxlcw0i01x3cgvj0ag1ldh" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 10:28:20 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;Un temperamento circular es un temperamento que no es 100% igual. 
&amp;lt;span class="hps"&amp;gt;temperamento&amp;lt;/span&amp;gt;

&amp;lt;span class="hps"&amp;gt;[[media type="youtube" key="G6ihF82lvEA" height="315" width="560"]]&amp;lt;/span&amp;gt;&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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  <page>
    <title>Temperamento justo</title>
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      <text bytes="86" sha1="f16ok6gpo49tc4kgmg5wbzubrvc7owj" xml:space="preserve">ver [http://es.wikipedia.org/wiki/Temperamento_justo Temperamento justo] en wikipedia.</text>
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      <contributor>
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        <id>0</id>
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      <comment>**Imported revision 255290800 - Original comment: **</comment>
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      <text bytes="1470" sha1="fpqi9ox4iqtyc3262wr8y3clzthrpgz" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 12:28:40 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255290800&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
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  <page>
    <title>Temperamento regulares</title>
    <ns>0</ns>
    <id>25</id>
    <revision>
      <id>25</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
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      <text bytes="723" sha1="70l2j4p342kf9fxgmd7l5odlcrrl72o" xml:space="preserve">==Introducción para Temperamentos Regulares==

== ==

='''Rango uno Temperamentos'''=
ver [[EDOs|EDOs]].

='''Rango dos temperamentos'''=

==== ====

===='''Temperamento Mesotónico'''====
El Temperamento Mesotónico "tempers out" la coma &lt;span style=""&gt;sintónica, o 81/80. &lt;/span&gt;

===='''Temperamento Pelógico'''====

===='''Temperamento Puercospín'''====

===='''Temperamento Hemholtz'''====

===='''Temperamento Kleismic'''====

===='''Temperamento&lt;span style=""&gt; Diaschismic&lt;/span&gt;'''====

===='''&lt;span style=""&gt;Temperamento&lt;/span&gt; Wuerschmidt'''====

===='''Temperamento&lt;span style=""&gt; aumentado&lt;/span&gt;'''====

===='''&lt;span style=""&gt;Temperamento&lt;/span&gt; Archytas'''====

===='''Temperamento apotome'''====

=== ===</text>
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    <revision>
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      <comment>**Imported revision 256072624 - Original comment: **</comment>
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      <text bytes="6409" sha1="9vikd67jsjhcmdgczksxarvhz5rzvvx" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
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: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 10:08:31 UTC&lt;/tt&gt;.&lt;br&gt;
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The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;==Introducción para Temperamentos Regulares== 
== == 


=**Rango uno Temperamentos**= 
ver [[EDOs]].

=**Rango dos temperamentos**= 
==== ==== 
====**Temperamento Mesotónico**==== 
El Temperamento Mesotónico "tempers out" la coma &amp;lt;span class="hps"&amp;gt;sintónica, o 81/80. &amp;lt;/span&amp;gt;

====**Temperamento Pelógico**==== 
====**Temperamento Puercospín**==== 
====**Temperamento Hemholtz**==== 
====**Temperamento Kleismic**==== 
====**Temperamento&amp;lt;span class="WikiPageMenuTitle WikiElement"&amp;gt; Diaschismic&amp;lt;/span&amp;gt;**==== 
====**&amp;lt;span class="WikiPageMenuTitle WikiElement"&amp;gt;Temperamento&amp;lt;/span&amp;gt; Wuerschmidt**==== 
====**Temperamento&amp;lt;span class="hps"&amp;gt; aumentado&amp;lt;/span&amp;gt;**==== 
====**&amp;lt;span class="hps"&amp;gt;Temperamento&amp;lt;/span&amp;gt; Archytas**==== 
====**Temperamento apotome**==== 


=== === &lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;temperamento regulares&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:0:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc0"&amp;gt;&amp;lt;a name="x-Introducción para Temperamentos Regulares"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:0 --&amp;gt;Introducción para Temperamentos Regulares&amp;lt;/h2&amp;gt;
 &amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc1"&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt; &amp;lt;/h2&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:4:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc2"&amp;gt;&amp;lt;a name="Rango uno Temperamentos"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:4 --&amp;gt;&amp;lt;strong&amp;gt;Rango uno Temperamentos&amp;lt;/strong&amp;gt;&amp;lt;/h1&amp;gt;
 ver &amp;lt;a class="wiki_link" href="/EDOs"&amp;gt;EDOs&amp;lt;/a&amp;gt;.&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:6:&amp;amp;lt;h1&amp;amp;gt; --&amp;gt;&amp;lt;h1 id="toc3"&amp;gt;&amp;lt;a name="Rango dos temperamentos"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:6 --&amp;gt;&amp;lt;strong&amp;gt;Rango dos temperamentos&amp;lt;/strong&amp;gt;&amp;lt;/h1&amp;gt;
 &amp;lt;!-- ws:start:WikiTextHeadingRule:8:&amp;amp;lt;h4&amp;amp;gt; --&amp;gt;&amp;lt;h4 id="toc4"&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:8 --&amp;gt; &amp;lt;/h4&amp;gt;
 &amp;lt;!-- ws:start:WikiTextHeadingRule:10:&amp;amp;lt;h4&amp;amp;gt; --&amp;gt;&amp;lt;h4 id="toc5"&amp;gt;&amp;lt;a name="Rango dos temperamentos---Temperamento Mesotónico"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:10 --&amp;gt;&amp;lt;strong&amp;gt;Temperamento Mesotónico&amp;lt;/strong&amp;gt;&amp;lt;/h4&amp;gt;
 El Temperamento Mesotónico &amp;amp;quot;tempers out&amp;amp;quot; la coma &amp;lt;span class="hps"&amp;gt;sintónica, o 81/80. &amp;lt;/span&amp;gt;&amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:12:&amp;amp;lt;h4&amp;amp;gt; --&amp;gt;&amp;lt;h4 id="toc6"&amp;gt;&amp;lt;a name="Rango dos temperamentos---Temperamento Pelógico"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:12 --&amp;gt;&amp;lt;strong&amp;gt;Temperamento Pelógico&amp;lt;/strong&amp;gt;&amp;lt;/h4&amp;gt;
 &amp;lt;!-- ws:start:WikiTextHeadingRule:14:&amp;amp;lt;h4&amp;amp;gt; --&amp;gt;&amp;lt;h4 id="toc7"&amp;gt;&amp;lt;a name="Rango dos temperamentos---Temperamento Puercospín"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:14 --&amp;gt;&amp;lt;strong&amp;gt;Temperamento Puercospín&amp;lt;/strong&amp;gt;&amp;lt;/h4&amp;gt;
 &amp;lt;!-- ws:start:WikiTextHeadingRule:16:&amp;amp;lt;h4&amp;amp;gt; --&amp;gt;&amp;lt;h4 id="toc8"&amp;gt;&amp;lt;a name="Rango dos temperamentos---Temperamento Hemholtz"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:16 --&amp;gt;&amp;lt;strong&amp;gt;Temperamento Hemholtz&amp;lt;/strong&amp;gt;&amp;lt;/h4&amp;gt;
 &amp;lt;!-- ws:start:WikiTextHeadingRule:18:&amp;amp;lt;h4&amp;amp;gt; --&amp;gt;&amp;lt;h4 id="toc9"&amp;gt;&amp;lt;a name="Rango dos temperamentos---Temperamento Kleismic"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:18 --&amp;gt;&amp;lt;strong&amp;gt;Temperamento Kleismic&amp;lt;/strong&amp;gt;&amp;lt;/h4&amp;gt;
 &amp;lt;!-- ws:start:WikiTextHeadingRule:20:&amp;amp;lt;h4&amp;amp;gt; --&amp;gt;&amp;lt;h4 id="toc10"&amp;gt;&amp;lt;a name="Rango dos temperamentos---Temperamento Diaschismic"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:20 --&amp;gt;&amp;lt;strong&amp;gt;Temperamento&amp;lt;span class="WikiPageMenuTitle WikiElement"&amp;gt; Diaschismic&amp;lt;/span&amp;gt;&amp;lt;/strong&amp;gt;&amp;lt;/h4&amp;gt;
 &amp;lt;!-- ws:start:WikiTextHeadingRule:22:&amp;amp;lt;h4&amp;amp;gt; --&amp;gt;&amp;lt;h4 id="toc11"&amp;gt;&amp;lt;a name="Rango dos temperamentos---Temperamento Wuerschmidt"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:22 --&amp;gt;&amp;lt;strong&amp;gt;&amp;lt;span class="WikiPageMenuTitle WikiElement"&amp;gt;Temperamento&amp;lt;/span&amp;gt; Wuerschmidt&amp;lt;/strong&amp;gt;&amp;lt;/h4&amp;gt;
 &amp;lt;!-- ws:start:WikiTextHeadingRule:24:&amp;amp;lt;h4&amp;amp;gt; --&amp;gt;&amp;lt;h4 id="toc12"&amp;gt;&amp;lt;a name="Rango dos temperamentos---Temperamento aumentado"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:24 --&amp;gt;&amp;lt;strong&amp;gt;Temperamento&amp;lt;span class="hps"&amp;gt; aumentado&amp;lt;/span&amp;gt;&amp;lt;/strong&amp;gt;&amp;lt;/h4&amp;gt;
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 &amp;lt;!-- ws:start:WikiTextHeadingRule:28:&amp;amp;lt;h4&amp;amp;gt; --&amp;gt;&amp;lt;h4 id="toc14"&amp;gt;&amp;lt;a name="Rango dos temperamentos---Temperamento apotome"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:28 --&amp;gt;&amp;lt;strong&amp;gt;Temperamento apotome&amp;lt;/strong&amp;gt;&amp;lt;/h4&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:30:&amp;amp;lt;h3&amp;amp;gt; --&amp;gt;&amp;lt;h3 id="toc15"&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:30 --&amp;gt; &amp;lt;/h3&amp;gt;
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    <revision>
      <id>124</id>
      <timestamp>2011-09-19T20:41:21Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255880108 - Original comment: **</comment>
      <origin>124</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2356" sha1="fsqd2be4phub4jp8cl158ct9fjp9o7i" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 20:41:21 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255880108&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;# ==Temperamento Regular== 
# ==Temperamento Pelógico== 
# ==**Temperamento Mesotónico**== 
# ==Temperamento Puercospín== &lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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&amp;lt;/li&amp;gt;&amp;lt;li&amp;gt;&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc1"&amp;gt;&amp;lt;a name="x-Temperamento Pelógico"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;Temperamento Pelógico&amp;lt;/h2&amp;gt;
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&amp;lt;/li&amp;gt;&amp;lt;/ol&amp;gt;&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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    <revision>
      <id>125</id>
      <timestamp>2011-09-18T12:44:58Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255294146 - Original comment: **</comment>
      <origin>125</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2804" sha1="5666xyewyag9gzfkeotbjukn9u0uo9b" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 12:44:58 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255294146&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;==&amp;lt;span class="short_text"&amp;gt;&amp;lt;span class="hps"&amp;gt;temperamento regulares&amp;lt;/span&amp;gt;&amp;lt;/span&amp;gt;== 



==&amp;lt;span class="short_text"&amp;gt;&amp;lt;span class="hps"&amp;gt;temperamento pelogic&amp;lt;/span&amp;gt;&amp;lt;/span&amp;gt;== 

==**temperamento mesotónico**== 

==****temperamento****"porcupine" (¿&amp;lt;span class="hps"&amp;gt;traducción&amp;lt;/span&amp;gt;?)== &lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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    <revision>
      <id>126</id>
      <timestamp>2011-09-18T12:44:05Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;Natebedell</username>
        <id>0</id>
      </contributor>
      <comment>**Imported revision 255293918 - Original comment: **</comment>
      <origin>126</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2373" sha1="fxt2y1ilvkq7x4jfdkg9vuht6d0vqlb" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-18 12:44:05 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255293918&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;==&amp;lt;span class="short_text"&amp;gt;&amp;lt;span class="hps"&amp;gt;temperamento regulares&amp;lt;/span&amp;gt;&amp;lt;/span&amp;gt;== 



==&amp;lt;span class="short_text"&amp;gt;&amp;lt;span class="hps"&amp;gt;temperamento pelogic&amp;lt;/span&amp;gt;&amp;lt;/span&amp;gt;== 

==**temperamento mesotónico**== &lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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&amp;lt;br /&amp;gt;
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&amp;lt;!-- ws:start:WikiTextHeadingRule:2:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc1"&amp;gt;&amp;lt;a name="x-temperamento pelogic"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:2 --&amp;gt;&amp;lt;span class="short_text"&amp;gt;&amp;lt;span class="hps"&amp;gt;temperamento pelogic&amp;lt;/span&amp;gt;&amp;lt;/span&amp;gt;&amp;lt;/h2&amp;gt;
 &amp;lt;br /&amp;gt;
&amp;lt;!-- ws:start:WikiTextHeadingRule:4:&amp;amp;lt;h2&amp;amp;gt; --&amp;gt;&amp;lt;h2 id="toc2"&amp;gt;&amp;lt;a name="x-temperamento mesotónico"&amp;gt;&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextHeadingRule:4 --&amp;gt;&amp;lt;strong&amp;gt;temperamento mesotónico&amp;lt;/strong&amp;gt;&amp;lt;/h2&amp;gt;
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    <revision>
      <id>127</id>
      <timestamp>2011-09-16T12:54:04Z</timestamp>
      <contributor>
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==&amp;lt;span class="short_text"&amp;gt;&amp;lt;span class="hps"&amp;gt;temperamento pelogic&amp;lt;/span&amp;gt;&amp;lt;/span&amp;gt;== &lt;/pre&gt;&lt;/div&gt;
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    <title>Teoría</title>
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      <text bytes="54" sha1="rbcibox8ly10f38nxesux2r0d4mik16" xml:space="preserve">&lt;span style=""&gt;teoría&lt;/span&gt; de música xenarmónico.</text>
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      <comment>**Imported revision 254786124 - Original comment: **</comment>
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      <text bytes="1362" sha1="c3oqrzn41pq8no7sozgn7m1mmpfd82n" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:12:01 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;span class="hps"&amp;gt;teoría&amp;lt;/span&amp;gt; de música xenarmónico.&lt;/pre&gt;&lt;/div&gt;
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      <text bytes="104" sha1="ncem6m18ogh8y6cjkns33f56782w1i3" xml:space="preserve">'''Teoría''' de música xenarmónico.

:''todo''

[[Categoría:Teoría| ]] &lt;!-- artículo principal --&gt;</text>
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    <title>Xenarmónico</title>
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      <text bytes="2314" sha1="cf3r78wroscyxxt108b854zfad94zi7" xml:space="preserve">Xenarmónico es un término usado para describir sistemas de [http://en.wikipedia.org/wiki/Musical_tuning afinación] ó [http://en.wikipedia.org/wiki/Music música], usando estos para la cual no se conforman en base al cierre aproximado del común [http://en.wikipedia.org/wiki/12-tone_equal_temperament sistema equitativo de 12 notas]. El término fue acuñado por [http://en.wikipedia.org/wiki/Ivor_Darreg Ivor Darreg], a partir de los términos [http://en.wikipedia.org/wiki/Greek_language griegos] [http://en.wikipedia.org/wiki/Xenia_%28Greek%29 xenia] ( '''ξενία: hospitalario, generoso'''), y/o [http://en.wikipedia.org/wiki/Xenos_%28Greek%29 xenos] ('''ξένος: forastero'''), significando 'Armonía forastera' ó 'Armonía hospitalaria', siendo este último interpretado como Armonía Bondadosa, refiriéndose a la abundancia de opciones armónicas que no se encuentran en el sistema común de 12 notas. A Ivor Darreg se le conoce por la declaración: "Este escritor ha propuesto el término Xenarmonía para aquellas música, melodías, escalas, armonías, instrumentos y sistemas de afinaciones, los cuales no suenan como el típico Sistema Temperado de 12 notas."[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0 [][http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0 1][[[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0 http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0]|]]]

El término pretende incluir además, afinaciones tales como el Sistema Temperado de 5 notas y el Sistema Temperado de 7 notas, por lo cuales son excluídos dentro de la categoría "Microtonal", debido a que sus intervalos son más largos que los del [http://en.wikipedia.org/wiki/Equal_temperament Temperamento Equitativo de 12 notas]. El término 'Microtonal' quizás haya sido visto como demasiado restrictivo, ya que este fue asociado fuértemente al movimiento [http://en.wikipedia.org/wiki/Quartertone Quartitonal], con compositores como [http://en.wikipedia.org/wiki/Julian_Carrillo Julian Carrillo], quién trabajó únicamente con Sistemas Temperados que fuesen múltiplos de 12. Ivor Darreg fue uno de los primeros en argumentar que cualquier Temperamento Equitativo puede servir como fuente válida para propósitos musicales.  
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      <comment>**Imported revision 256075424 - Original comment: **</comment>
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      <text bytes="6756" sha1="frzv5zdiogw6cox7rdxczr8rst8x1d9" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-20 10:14:37 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;Xenarmónico es un término usado para describir sistemas de [[http://en.wikipedia.org/wiki/Musical_tuning|afinación]] ó [[http://en.wikipedia.org/wiki/Music|música]], usando estos para la cual no se conforman en base al cierre aproximado del común [[http://en.wikipedia.org/wiki/12-tone_equal_temperament|sistema equitativo de 12 notas]]. El término fue acuñado por [[http://en.wikipedia.org/wiki/Ivor_Darreg|Ivor Darreg]], a partir de los términos [[http://en.wikipedia.org/wiki/Greek_language|griegos]] [[http://en.wikipedia.org/wiki/Xenia_%28Greek%29|xenia]] ( **ξενία: hospitalario, generoso**), y/o [[http://en.wikipedia.org/wiki/Xenos_%28Greek%29|xenos]] (**ξένος: forastero**), significando 'Armonía forastera' ó 'Armonía hospitalaria', siendo este último interpretado como Armonía Bondadosa, refiriéndose a la abundancia de opciones armónicas que no se encuentran en el sistema común de 12 notas. A Ivor Darreg se le conoce por la declaración: "Este escritor ha propuesto el término Xenarmonía para aquellas música, melodías, escalas, armonías, instrumentos y sistemas de afinaciones, los cuales no suenan como el típico Sistema Temperado de 12 notas."[[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|[]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|1]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|]]]
El término pretende incluir además, afinaciones tales como el Sistema Temperado de 5 notas y el Sistema Temperado de 7 notas, por lo cuales son excluídos dentro de la categoría "Microtonal", debido a que sus intervalos son más largos que los del [[http://en.wikipedia.org/wiki/Equal_temperament|Temperamento Equitativo de 12 notas]]. El término 'Microtonal' quizás haya sido visto como demasiado restrictivo, ya que este fue asociado fuértemente al movimiento [[http://en.wikipedia.org/wiki/Quartertone|Quartitonal]], con compositores como [[http://en.wikipedia.org/wiki/Julian_Carrillo|Julian Carrillo]], quién trabajó únicamente con Sistemas Temperados que fuesen múltiplos de 12. Ivor Darreg fue uno de los primeros en argumentar que cualquier Temperamento Equitativo puede servir como fuente válida para propósitos musicales.&lt;/pre&gt;&lt;/div&gt;
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El término pretende incluir además, afinaciones tales como el Sistema Temperado de 5 notas y el Sistema Temperado de 7 notas, por lo cuales son excluídos dentro de la categoría &amp;amp;quot;Microtonal&amp;amp;quot;, debido a que sus intervalos son más largos que los del &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Equal_temperament" rel="nofollow"&amp;gt;Temperamento Equitativo de 12 notas&amp;lt;/a&amp;gt;. El término 'Microtonal' quizás haya sido visto como demasiado restrictivo, ya que este fue asociado fuértemente al movimiento &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Quartertone" rel="nofollow"&amp;gt;Quartitonal&amp;lt;/a&amp;gt;, con compositores como &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Julian_Carrillo" rel="nofollow"&amp;gt;Julian Carrillo&amp;lt;/a&amp;gt;, quién trabajó únicamente con Sistemas Temperados que fuesen múltiplos de 12. Ivor Darreg fue uno de los primeros en argumentar que cualquier Temperamento Equitativo puede servir como fuente válida para propósitos musicales.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <text bytes="6921" sha1="5e7h0dl2fy5uu4qxh0ct2tafossas5o" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 23:50:56 UTC&lt;/tt&gt;.&lt;br&gt;
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&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;**&amp;lt;span class="WikiPageMenuTitle WikiElement"&amp;gt;Xenarmónico&amp;lt;/span&amp;gt;** es un término usado para describir sistemas de [[http://en.wikipedia.org/wiki/Musical_tuning|afinación]] ó [[http://en.wikipedia.org/wiki/Music|música]], usando estos para la cual no se conforman en base al cierre aproximado del común [[http://en.wikipedia.org/wiki/12-tone_equal_temperament|sistema equitativo de 12 notas]]. El término fue acuñado por [[http://en.wikipedia.org/wiki/Ivor_Darreg|Ivor Darreg]], a partir de los términos [[http://en.wikipedia.org/wiki/Greek_language|griegos]] [[http://en.wikipedia.org/wiki/Xenia_%28Greek%29|xenia]] ( **ξενία: hospitalario, generoso**), y/o [[http://en.wikipedia.org/wiki/Xenos_%28Greek%29|xenos]] (**ξένος: forastero**), significando 'Armonía forastera' ó 'Armonía hospitalaria', siendo este último interpretado como Armonía Bondadosa, refiriéndose a la abundancia de opciones armónicas que no se encuentran en el sistema común de 12 notas. A Ivor Darreg se le conoce por la declaración: "Este escritor ha propuesto el término Xenarmonía para aquellas música, melodías, escalas, armonías, instrumentos y sistemas de afinaciones, los cuales no suenan como el típico Sistema Temperado de 12 notas."[[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|[]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|1]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|]]]
El término pretende incluir además, afinaciones tales como el Sistema Temperado de 5 notas y el Sistema Temperado de 7 notas, por lo cuales son excluídos dentro de la categoría "Microtonal", debido a que sus intervalos son más largos que los del [[http://en.wikipedia.org/wiki/Equal_temperament|Temperamento Equitativo de 12 notas]]. El término 'Microtonal' quizás haya sido visto como demasiado restrictivo, ya que este fue asociado fuértemente al movimiento [[http://en.wikipedia.org/wiki/Quartertone|Quartitonal]], con compositores como [[http://en.wikipedia.org/wiki/Julian_Carrillo|Julian Carrillo]], quién trabajó únicamente con Sistemas Temperados que fuesen múltiplos de 12. Ivor Darreg fue uno de los primeros en argumentar que cualquier Temperamento Equitativo puede servir como fuente válida para propósitos musicales.&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;xenarmónico&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;strong&amp;gt;&amp;lt;span class="WikiPageMenuTitle WikiElement"&amp;gt;Xenarmónico&amp;lt;/span&amp;gt;&amp;lt;/strong&amp;gt; es un término usado para describir sistemas de &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Musical_tuning" rel="nofollow"&amp;gt;afinación&amp;lt;/a&amp;gt; ó &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Music" rel="nofollow"&amp;gt;música&amp;lt;/a&amp;gt;, usando estos para la cual no se conforman en base al cierre aproximado del común &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/12-tone_equal_temperament" rel="nofollow"&amp;gt;sistema equitativo de 12 notas&amp;lt;/a&amp;gt;. El término fue acuñado por &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Ivor_Darreg" rel="nofollow"&amp;gt;Ivor Darreg&amp;lt;/a&amp;gt;, a partir de los términos &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Greek_language" rel="nofollow"&amp;gt;griegos&amp;lt;/a&amp;gt; &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenia_%28Greek%29" rel="nofollow"&amp;gt;xenia&amp;lt;/a&amp;gt; ( &amp;lt;strong&amp;gt;ξενία: hospitalario, generoso&amp;lt;/strong&amp;gt;), y/o &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenos_%28Greek%29" rel="nofollow"&amp;gt;xenos&amp;lt;/a&amp;gt; (&amp;lt;strong&amp;gt;ξένος: forastero&amp;lt;/strong&amp;gt;), significando 'Armonía forastera' ó 'Armonía hospitalaria', siendo este último interpretado como Armonía Bondadosa, refiriéndose a la abundancia de opciones armónicas que no se encuentran en el sistema común de 12 notas. A Ivor Darreg se le conoce por la declaración: &amp;amp;quot;Este escritor ha propuesto el término Xenarmonía para aquellas música, melodías, escalas, armonías, instrumentos y sistemas de afinaciones, los cuales no suenan como el típico Sistema Temperado de 12 notas.&amp;amp;quot;&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0" rel="nofollow"&amp;gt;[&amp;lt;/a&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0" rel="nofollow"&amp;gt;1&amp;lt;/a&amp;gt;[[&amp;lt;!-- ws:start:WikiTextUrlRule:15:http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0 --&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0" rel="nofollow"&amp;gt;http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextUrlRule:15 --&amp;gt;|]]]&amp;lt;br /&amp;gt;
El término pretende incluir además, afinaciones tales como el Sistema Temperado de 5 notas y el Sistema Temperado de 7 notas, por lo cuales son excluídos dentro de la categoría &amp;amp;quot;Microtonal&amp;amp;quot;, debido a que sus intervalos son más largos que los del &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Equal_temperament" rel="nofollow"&amp;gt;Temperamento Equitativo de 12 notas&amp;lt;/a&amp;gt;. El término 'Microtonal' quizás haya sido visto como demasiado restrictivo, ya que este fue asociado fuértemente al movimiento &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Quartertone" rel="nofollow"&amp;gt;Quartitonal&amp;lt;/a&amp;gt;, con compositores como &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Julian_Carrillo" rel="nofollow"&amp;gt;Julian Carrillo&amp;lt;/a&amp;gt;, quién trabajó únicamente con Sistemas Temperados que fuesen múltiplos de 12. Ivor Darreg fue uno de los primeros en argumentar que cualquier Temperamento Equitativo puede servir como fuente válida para propósitos musicales.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 255938520 - Original comment: **</comment>
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      <text bytes="6893" sha1="4c39x0hfz22bqw7yyjqniovufz3af1i" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 23:49:59 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255938520&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;**&amp;lt;span class="WikiPageMenuTitle WikiElement"&amp;gt;Xenarmónico&amp;lt;/span&amp;gt;** es un término usado para describir sistemas de [[http://en.wikipedia.org/wiki/Musical_tuning|afinación]] ó [[http://en.wikipedia.org/wiki/Music|música]], usando estos para la cual no se conforman en base al cierre aproximado del común [[http://en.wikipedia.org/wiki/12-tone_equal_temperament|sistema equitativo de 12 notas]]. El término fue acuñado por [[http://en.wikipedia.org/wiki/Ivor_Darreg|Ivor Darreg]], a partir de los términos [[http://en.wikipedia.org/wiki/Greek_language|griegos]] [[http://en.wikipedia.org/wiki/Xenia_%28Greek%29|xenia]] ( **ξενία: hospitalario, generoso**), y/o [[http://en.wikipedia.org/wiki/Xenos_%28Greek%29|xenos]] (**ξένος: forastero**), significando 'Armonía forastera' ó 'Armonía hospitalaria', siendo este último interpretado como Armonía Bondadosa, refiriéndose a la abundancia de opciones armónicas que no se encuentran en el sistema común de 12 notas. Se le conoce por la declaración: "Este escritor ha propuesto el término Xenarmonía para aquellas música, melodías, escalas, armonías, instrumentos y sistemas de afinaciones, los cuales no suenan como el típico Sistema Temperado de 12 notas."[[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|[]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|1]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|]]]
El término pretende incluir además, afinaciones tales como el Sistema Temperado de 5 notas y el Sistema Temperado de 7 notas, por lo cuales son excluídos dentro de la categoría "Microtonal", debido a que sus intervalos son más largos que los del [[http://en.wikipedia.org/wiki/Equal_temperament|Temperamento Equitativo de 12 notas]]. El término 'Microtonal' quizás haya sido visto como demasiado restrictivo, ya que este fue asociado fuértemente al movimiento [[http://en.wikipedia.org/wiki/Quartertone|Quartitonal]], con compositores como [[http://en.wikipedia.org/wiki/Julian_Carrillo|Julian Carrillo]], quién trabajó únicamente con Sistemas Temperados que fuesen múltiplos de 12. Ivor Darreg fue uno de los primeros en argumentar que cualquier Temperamento Equitativo puede servir como fuente válida para propósitos musicales.&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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El término pretende incluir además, afinaciones tales como el Sistema Temperado de 5 notas y el Sistema Temperado de 7 notas, por lo cuales son excluídos dentro de la categoría &amp;amp;quot;Microtonal&amp;amp;quot;, debido a que sus intervalos son más largos que los del &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Equal_temperament" rel="nofollow"&amp;gt;Temperamento Equitativo de 12 notas&amp;lt;/a&amp;gt;. El término 'Microtonal' quizás haya sido visto como demasiado restrictivo, ya que este fue asociado fuértemente al movimiento &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Quartertone" rel="nofollow"&amp;gt;Quartitonal&amp;lt;/a&amp;gt;, con compositores como &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Julian_Carrillo" rel="nofollow"&amp;gt;Julian Carrillo&amp;lt;/a&amp;gt;, quién trabajó únicamente con Sistemas Temperados que fuesen múltiplos de 12. Ivor Darreg fue uno de los primeros en argumentar que cualquier Temperamento Equitativo puede servir como fuente válida para propósitos musicales.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 255859382 - Original comment: **</comment>
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      <text bytes="6883" sha1="ngb4dbe8p5wpg0ipgyh2dx8w1a03hpj" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Osmiorisbendi|Osmiorisbendi]] and made on &lt;tt&gt;2011-09-19 19:36:10 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;255859382&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;**&amp;lt;span class="WikiPageMenuTitle WikiElement"&amp;gt;Xenarmónico&amp;lt;/span&amp;gt;** es un término usado para describir sistemas de [[http://en.wikipedia.org/wiki/Musical_tuning|afinación]] ó [[http://en.wikipedia.org/wiki/Music|música]], usando estos para la cual no se conforman en base al cierre aproximado del común [[http://en.wikipedia.org/wiki/12-tone_equal_temperament|sistema equitativo de 12 notas]]. El término fue acuñado por [[http://en.wikipedia.org/wiki/Ivor_Darreg|Ivor Darreg]], a partir de los términos [[http://en.wikipedia.org/wiki/Greek_language|griegos]] [[http://en.wikipedia.org/wiki/Xenia_%28Greek%29|xenia]] ( **ξενία: hospitalario, generoso**), y/o [[http://en.wikipedia.org/wiki/Xenos_%28Greek%29|xenos]] (**ξένος: forastero**), significando 'Armonía forastera' ó 'Armonía hospitalaria', siendo este último interpretado como Armonía Bondadosa, refiriéndose a la abundancia de opciones armónicas que no se encuentran en el sistema común de 12 notas. Se le conoce por la declaración: "Este escritor ha propuesto el término Xenarmonía para aquellas música, melodías, escalas, armonías, instrumentos y sistemas de afinaciones, los cuales no suenan como el típico Sistema Temperado de 12 notas."[[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|[]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|1]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|]]]
El término pretende incluir además, afinaciones tales como el Sistema Temperado de 5 notas y el Sistema Temperado de 7 notas, por lo cuales son excluídos dentro de la categoría "Microtonal", debido a que sus intervalos son más largos que el [[http://en.wikipedia.org/wiki/Equal_temperament|Temperamento Equitativo de 12 notas]]. El término 'Microtonal' quizás haya sido visto como demasiado restrictivo, ya que este fue asociado fuértemente al movimiento [[http://en.wikipedia.org/wiki/Quartertone|Quartitonal]], con compositores como [[http://en.wikipedia.org/wiki/Julian_Carrillo|Julian Carrillo]], quién trabajó únicamente con Sistemas Temperados que fuesen múltiplos de 12. Ivor Darreg fue uno de los primeros en argumentar que cualquier Temperamento Equitativo puede servir como fuente válida para propósitos musicales.&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
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El término pretende incluir además, afinaciones tales como el Sistema Temperado de 5 notas y el Sistema Temperado de 7 notas, por lo cuales son excluídos dentro de la categoría &amp;amp;quot;Microtonal&amp;amp;quot;, debido a que sus intervalos son más largos que el &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Equal_temperament" rel="nofollow"&amp;gt;Temperamento Equitativo de 12 notas&amp;lt;/a&amp;gt;. El término 'Microtonal' quizás haya sido visto como demasiado restrictivo, ya que este fue asociado fuértemente al movimiento &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Quartertone" rel="nofollow"&amp;gt;Quartitonal&amp;lt;/a&amp;gt;, con compositores como &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Julian_Carrillo" rel="nofollow"&amp;gt;Julian Carrillo&amp;lt;/a&amp;gt;, quién trabajó únicamente con Sistemas Temperados que fuesen múltiplos de 12. Ivor Darreg fue uno de los primeros en argumentar que cualquier Temperamento Equitativo puede servir como fuente válida para propósitos musicales.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 254784542 - Original comment: **</comment>
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This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:08:26 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254784542&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;**&amp;lt;span class="WikiPageMenuTitle WikiElement"&amp;gt;Xenarmónico&amp;lt;/span&amp;gt;** es un terma used to describe [[http://en.wikipedia.org/wiki/Musical_tuning|tuning]] systems, or [[http://en.wikipedia.org/wiki/Music|music]] using those systems, which does not conform to or closely approximate the common [[http://en.wikipedia.org/wiki/12-tone_equal_temperament|12-tone equal temperament]]. The term was coined by [[http://en.wikipedia.org/wiki/Ivor_Darreg|Ivor Darreg]], from [[http://en.wikipedia.org/wiki/Xenia_%28Greek%29|xenia]] ([[http://en.wikipedia.org/wiki/Greek_language|Greek]] **ξενία**), hospitable, and [[http://en.wikipedia.org/wiki/Xenos_%28Greek%29|xenos]] ([[http://en.wikipedia.org/wiki/Greek_language|Greek]] **ξένος**) foreign. He famously stated: "This writer has proposed the term xenharmonic for music, melodies, scales, harmonies, instruments, and tuning-systems which do not sound like the 12-tone-equal temperament."[[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|[]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|1]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|]]]
The term is meant to include tunings such as 5- and 7-tone equal temperament, which are perhaps excluded under "microtonal" rubric, since their intervals are larger than those of [[http://en.wikipedia.org/wiki/Equal_temperament|12-ET]]. The term "microtonal" may have also been seen as too restrictive in that it was strongly associated with the [[http://en.wikipedia.org/wiki/Quartertone|quartertone]] movement, and with composers like [[http://en.wikipedia.org/wiki/Julian_Carrillo|Julian Carrillo]], who only worked in equal temperaments that were multiples of 12. Darreg was among the first to argue that any equal temperament could be a valid source of musical materials.&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;xenarmónico&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;strong&amp;gt;&amp;lt;span class="WikiPageMenuTitle WikiElement"&amp;gt;Xenarmónico&amp;lt;/span&amp;gt;&amp;lt;/strong&amp;gt; es un terma used to describe &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Musical_tuning" rel="nofollow"&amp;gt;tuning&amp;lt;/a&amp;gt; systems, or &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Music" rel="nofollow"&amp;gt;music&amp;lt;/a&amp;gt; using those systems, which does not conform to or closely approximate the common &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/12-tone_equal_temperament" rel="nofollow"&amp;gt;12-tone equal temperament&amp;lt;/a&amp;gt;. The term was coined by &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Ivor_Darreg" rel="nofollow"&amp;gt;Ivor Darreg&amp;lt;/a&amp;gt;, from &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenia_%28Greek%29" rel="nofollow"&amp;gt;xenia&amp;lt;/a&amp;gt; (&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Greek_language" rel="nofollow"&amp;gt;Greek&amp;lt;/a&amp;gt; &amp;lt;strong&amp;gt;ξενία&amp;lt;/strong&amp;gt;), hospitable, and &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenos_%28Greek%29" rel="nofollow"&amp;gt;xenos&amp;lt;/a&amp;gt; (&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Greek_language" rel="nofollow"&amp;gt;Greek&amp;lt;/a&amp;gt; &amp;lt;strong&amp;gt;ξένος&amp;lt;/strong&amp;gt;) foreign. He famously stated: &amp;amp;quot;This writer has proposed the term xenharmonic for music, melodies, scales, harmonies, instruments, and tuning-systems which do not sound like the 12-tone-equal temperament.&amp;amp;quot;&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0" rel="nofollow"&amp;gt;[&amp;lt;/a&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0" rel="nofollow"&amp;gt;1&amp;lt;/a&amp;gt;[[&amp;lt;!-- ws:start:WikiTextUrlRule:16:http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0 --&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0" rel="nofollow"&amp;gt;http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextUrlRule:16 --&amp;gt;|]]]&amp;lt;br /&amp;gt;
The term is meant to include tunings such as 5- and 7-tone equal temperament, which are perhaps excluded under &amp;amp;quot;microtonal&amp;amp;quot; rubric, since their intervals are larger than those of &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Equal_temperament" rel="nofollow"&amp;gt;12-ET&amp;lt;/a&amp;gt;. The term &amp;amp;quot;microtonal&amp;amp;quot; may have also been seen as too restrictive in that it was strongly associated with the &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Quartertone" rel="nofollow"&amp;gt;quartertone&amp;lt;/a&amp;gt; movement, and with composers like &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Julian_Carrillo" rel="nofollow"&amp;gt;Julian Carrillo&amp;lt;/a&amp;gt;, who only worked in equal temperaments that were multiples of 12. Darreg was among the first to argue that any equal temperament could be a valid source of musical materials.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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        <id>0</id>
      </contributor>
      <comment>**Imported revision 254784366 - Original comment: **</comment>
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      <text bytes="6005" sha1="g278fxcuwi3qz916g44jpm5gb6p4tq6" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:07:56 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254784366&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;span class="WikiPageMenuTitle WikiElement"&amp;gt;Xenarmónico&amp;lt;/span&amp;gt; es un terma used to describe [[http://en.wikipedia.org/wiki/Musical_tuning|tuning]] systems, or [[http://en.wikipedia.org/wiki/Music|music]] using those systems, which does not conform to or closely approximate the common [[http://en.wikipedia.org/wiki/12-tone_equal_temperament|12-tone equal temperament]]. The term was coined by [[http://en.wikipedia.org/wiki/Ivor_Darreg|Ivor Darreg]], from [[http://en.wikipedia.org/wiki/Xenia_%28Greek%29|xenia]] ([[http://en.wikipedia.org/wiki/Greek_language|Greek]] **ξενία**), hospitable, and [[http://en.wikipedia.org/wiki/Xenos_%28Greek%29|xenos]] ([[http://en.wikipedia.org/wiki/Greek_language|Greek]] **ξένος**) foreign. He famously stated: "This writer has proposed the term xenharmonic for music, melodies, scales, harmonies, instruments, and tuning-systems which do not sound like the 12-tone-equal temperament."[[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|[]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|1]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|]]]
The term is meant to include tunings such as 5- and 7-tone equal temperament, which are perhaps excluded under "microtonal" rubric, since their intervals are larger than those of [[http://en.wikipedia.org/wiki/Equal_temperament|12-ET]]. The term "microtonal" may have also been seen as too restrictive in that it was strongly associated with the [[http://en.wikipedia.org/wiki/Quartertone|quartertone]] movement, and with composers like [[http://en.wikipedia.org/wiki/Julian_Carrillo|Julian Carrillo]], who only worked in equal temperaments that were multiples of 12. Darreg was among the first to argue that any equal temperament could be a valid source of musical materials.&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;xenarmónico&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;span class="WikiPageMenuTitle WikiElement"&amp;gt;Xenarmónico&amp;lt;/span&amp;gt; es un terma used to describe &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Musical_tuning" rel="nofollow"&amp;gt;tuning&amp;lt;/a&amp;gt; systems, or &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Music" rel="nofollow"&amp;gt;music&amp;lt;/a&amp;gt; using those systems, which does not conform to or closely approximate the common &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/12-tone_equal_temperament" rel="nofollow"&amp;gt;12-tone equal temperament&amp;lt;/a&amp;gt;. The term was coined by &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Ivor_Darreg" rel="nofollow"&amp;gt;Ivor Darreg&amp;lt;/a&amp;gt;, from &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenia_%28Greek%29" rel="nofollow"&amp;gt;xenia&amp;lt;/a&amp;gt; (&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Greek_language" rel="nofollow"&amp;gt;Greek&amp;lt;/a&amp;gt; &amp;lt;strong&amp;gt;ξενία&amp;lt;/strong&amp;gt;), hospitable, and &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenos_%28Greek%29" rel="nofollow"&amp;gt;xenos&amp;lt;/a&amp;gt; (&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Greek_language" rel="nofollow"&amp;gt;Greek&amp;lt;/a&amp;gt; &amp;lt;strong&amp;gt;ξένος&amp;lt;/strong&amp;gt;) foreign. He famously stated: &amp;amp;quot;This writer has proposed the term xenharmonic for music, melodies, scales, harmonies, instruments, and tuning-systems which do not sound like the 12-tone-equal temperament.&amp;amp;quot;&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0" rel="nofollow"&amp;gt;[&amp;lt;/a&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0" rel="nofollow"&amp;gt;1&amp;lt;/a&amp;gt;[[&amp;lt;!-- ws:start:WikiTextUrlRule:16:http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0 --&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0" rel="nofollow"&amp;gt;http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextUrlRule:16 --&amp;gt;|]]]&amp;lt;br /&amp;gt;
The term is meant to include tunings such as 5- and 7-tone equal temperament, which are perhaps excluded under &amp;amp;quot;microtonal&amp;amp;quot; rubric, since their intervals are larger than those of &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Equal_temperament" rel="nofollow"&amp;gt;12-ET&amp;lt;/a&amp;gt;. The term &amp;amp;quot;microtonal&amp;amp;quot; may have also been seen as too restrictive in that it was strongly associated with the &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Quartertone" rel="nofollow"&amp;gt;quartertone&amp;lt;/a&amp;gt; movement, and with composers like &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Julian_Carrillo" rel="nofollow"&amp;gt;Julian Carrillo&amp;lt;/a&amp;gt;, who only worked in equal temperaments that were multiples of 12. Darreg was among the first to argue that any equal temperament could be a valid source of musical materials.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>**Imported revision 254783216 - Original comment: **</comment>
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      <text bytes="5906" sha1="cn6afbkqj1wo0hjgiu0r4v1jhp705l7" xml:space="preserve">&lt;h2&gt;IMPORTED REVISION FROM WIKISPACES&lt;/h2&gt;
This is an imported revision from Wikispaces. The revision metadata is included below for reference:&lt;br&gt;
: This revision was by author [[User:Natebedell|Natebedell]] and made on &lt;tt&gt;2011-09-16 12:05:26 UTC&lt;/tt&gt;.&lt;br&gt;
: The original revision id was &lt;tt&gt;254783216&lt;/tt&gt;.&lt;br&gt;
: The revision comment was: &lt;tt&gt;&lt;/tt&gt;&lt;br&gt;
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.&lt;br&gt;
&lt;h4&gt;Original Wikitext content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"&gt;**Xenharmonic** is a term used to describe [[http://en.wikipedia.org/wiki/Musical_tuning|tuning]] systems, or [[http://en.wikipedia.org/wiki/Music|music]] using those systems, which does not conform to or closely approximate the common [[http://en.wikipedia.org/wiki/12-tone_equal_temperament|12-tone equal temperament]]. The term was coined by [[http://en.wikipedia.org/wiki/Ivor_Darreg|Ivor Darreg]], from [[http://en.wikipedia.org/wiki/Xenia_%28Greek%29|xenia]] ([[http://en.wikipedia.org/wiki/Greek_language|Greek]] **ξενία**), hospitable, and [[http://en.wikipedia.org/wiki/Xenos_%28Greek%29|xenos]] ([[http://en.wikipedia.org/wiki/Greek_language|Greek]] **ξένος**) foreign. He famously stated: "This writer has proposed the term xenharmonic for music, melodies, scales, harmonies, instruments, and tuning-systems which do not sound like the 12-tone-equal temperament."[[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|[]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|1]][[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0|]]]
The term is meant to include tunings such as 5- and 7-tone equal temperament, which are perhaps excluded under "microtonal" rubric, since their intervals are larger than those of [[http://en.wikipedia.org/wiki/Equal_temperament|12-ET]]. The term "microtonal" may have also been seen as too restrictive in that it was strongly associated with the [[http://en.wikipedia.org/wiki/Quartertone|quartertone]] movement, and with composers like [[http://en.wikipedia.org/wiki/Julian_Carrillo|Julian Carrillo]], who only worked in equal temperaments that were multiples of 12. Darreg was among the first to argue that any equal temperament could be a valid source of musical materials.&lt;/pre&gt;&lt;/div&gt;
&lt;h4&gt;Original HTML content:&lt;/h4&gt;
&lt;div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"&gt;&lt;pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"&gt;&amp;lt;html&amp;gt;&amp;lt;head&amp;gt;&amp;lt;title&amp;gt;xenarmónico&amp;lt;/title&amp;gt;&amp;lt;/head&amp;gt;&amp;lt;body&amp;gt;&amp;lt;strong&amp;gt;Xenharmonic&amp;lt;/strong&amp;gt; is a term used to describe &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Musical_tuning" rel="nofollow"&amp;gt;tuning&amp;lt;/a&amp;gt; systems, or &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Music" rel="nofollow"&amp;gt;music&amp;lt;/a&amp;gt; using those systems, which does not conform to or closely approximate the common &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/12-tone_equal_temperament" rel="nofollow"&amp;gt;12-tone equal temperament&amp;lt;/a&amp;gt;. The term was coined by &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Ivor_Darreg" rel="nofollow"&amp;gt;Ivor Darreg&amp;lt;/a&amp;gt;, from &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenia_%28Greek%29" rel="nofollow"&amp;gt;xenia&amp;lt;/a&amp;gt; (&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Greek_language" rel="nofollow"&amp;gt;Greek&amp;lt;/a&amp;gt; &amp;lt;strong&amp;gt;ξενία&amp;lt;/strong&amp;gt;), hospitable, and &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenos_%28Greek%29" rel="nofollow"&amp;gt;xenos&amp;lt;/a&amp;gt; (&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Greek_language" rel="nofollow"&amp;gt;Greek&amp;lt;/a&amp;gt; &amp;lt;strong&amp;gt;ξένος&amp;lt;/strong&amp;gt;) foreign. He famously stated: &amp;amp;quot;This writer has proposed the term xenharmonic for music, melodies, scales, harmonies, instruments, and tuning-systems which do not sound like the 12-tone-equal temperament.&amp;amp;quot;&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0" rel="nofollow"&amp;gt;[&amp;lt;/a&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0" rel="nofollow"&amp;gt;1&amp;lt;/a&amp;gt;[[&amp;lt;!-- ws:start:WikiTextUrlRule:14:http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0 --&amp;gt;&amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0" rel="nofollow"&amp;gt;http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0&amp;lt;/a&amp;gt;&amp;lt;!-- ws:end:WikiTextUrlRule:14 --&amp;gt;|]]]&amp;lt;br /&amp;gt;
The term is meant to include tunings such as 5- and 7-tone equal temperament, which are perhaps excluded under &amp;amp;quot;microtonal&amp;amp;quot; rubric, since their intervals are larger than those of &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Equal_temperament" rel="nofollow"&amp;gt;12-ET&amp;lt;/a&amp;gt;. The term &amp;amp;quot;microtonal&amp;amp;quot; may have also been seen as too restrictive in that it was strongly associated with the &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Quartertone" rel="nofollow"&amp;gt;quartertone&amp;lt;/a&amp;gt; movement, and with composers like &amp;lt;a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Julian_Carrillo" rel="nofollow"&amp;gt;Julian Carrillo&amp;lt;/a&amp;gt;, who only worked in equal temperaments that were multiples of 12. Darreg was among the first to argue that any equal temperament could be a valid source of musical materials.&amp;lt;/body&amp;gt;&amp;lt;/html&amp;gt;&lt;/pre&gt;&lt;/div&gt;</text>
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      <comment>Mike - changed malformed link</comment>
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      <text bytes="2096" sha1="0bgb0drzpi8r66aif9sd2v2lv5n1jri" xml:space="preserve">Xenarmónico es un término usado para describir sistemas de [http://en.wikipedia.org/wiki/Musical_tuning afinación] ó [http://en.wikipedia.org/wiki/Music música], usando estos para la cual no se conforman en base al cierre aproximado del común [http://en.wikipedia.org/wiki/12-tone_equal_temperament sistema equitativo de 12 notas]. El término fue acuñado por [http://en.wikipedia.org/wiki/Ivor_Darreg Ivor Darreg], a partir de los términos [http://en.wikipedia.org/wiki/Greek_language griegos] [http://en.wikipedia.org/wiki/Xenia_%28Greek%29 xenia] ( '''ξενία: hospitalario, generoso'''), y/o [http://en.wikipedia.org/wiki/Xenos_%28Greek%29 xenos] ('''ξένος: forastero'''), significando 'Armonía forastera' ó 'Armonía hospitalaria', siendo este último interpretado como Armonía Bondadosa, refiriéndose a la abundancia de opciones armónicas que no se encuentran en el sistema común de 12 notas. A Ivor Darreg se le conoce por la declaración: "Este escritor ha propuesto el término Xenarmonía para aquellas música, melodías, escalas, armonías, instrumentos y sistemas de afinaciones, los cuales no suenan como el típico Sistema Temperado de 12 notas." &lt;sup&gt;[http://en.wikipedia.org/wiki/Xenharmonic_music#cite_note-0 1]&lt;/sup&gt;

El término pretende incluir además, afinaciones tales como el Sistema Temperado de 5 notas y el Sistema Temperado de 7 notas, por lo cuales son excluídos dentro de la categoría "Microtonal", debido a que sus intervalos son más largos que los del [http://en.wikipedia.org/wiki/Equal_temperament Temperamento Equitativo de 12 notas]. El término 'Microtonal' quizás haya sido visto como demasiado restrictivo, ya que este fue asociado fuértemente al movimiento [http://en.wikipedia.org/wiki/Quartertone Quartitonal], con compositores como [http://en.wikipedia.org/wiki/Julian_Carrillo Julian Carrillo], quién trabajó únicamente con Sistemas Temperados que fuesen múltiplos de 12. Ivor Darreg fue uno de los primeros en argumentar que cualquier Temperamento Equitativo puede servir como fuente válida para propósitos musicales.</text>
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  <page>
    <title>Discusión:Escala Blackwood</title>
    <ns>1</ns>
    <id>29</id>
    <revision>
      <id>137</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
      </contributor>
      <origin>137</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="649" sha1="m57o6sfb9mvt5jzdbzi5b4ow78k2ww6" xml:space="preserve">= ARCHIVED WIKISPACES DISCUSSION BELOW =
'''All discussion below is archived from the Wikispaces export in its original unaltered form.'''
----

== Una sugerencia ==
Hola, antes ke nada, kiero hacer algo ke no cambie el sentido de 'L' y 's' en los tamaños de MOS. Les Sugiero ke sigan utilizando el 'L' como Intervalo Largo, y un cambio en la representación de los intervalos pekeños por 'c', ke significa Intervalo Corto.

Como ejemplo: Superdiatónica (Mávila-9) LLLsLLLLs (L, Long step; s, small or short step) =&amp;gt; LLLcLLLLc (L, paso Largo; c, paso corto).

¿Ké opinan?

- '''Osmiorisbendi''' September 20, 2011, 06:19:17 PM UTC-0700
----</text>
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    <revision>
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      <timestamp>2018-10-01T00:35:35Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
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      <text bytes="439" sha1="a7tbq6l7bu5aruqej6hv5tinx5peke6" xml:space="preserve">= OLD: Archived Wikispaces Discussion =
&lt;div style="text-align:center; background-color: #fee;"&gt;&lt;big&gt;'''This page contains archived discussion from Wikispaces.'''&lt;/big&gt;&lt;br/&gt;This archived discussion can be found at [[{{FULLPAGENAME}}/WikispacesArchive]].&lt;br/&gt;Please add any new discussion &lt;strong&gt;below&lt;/strong&gt; this section, at the bottom of the page.&lt;br/&gt;Do not add any new discussion above this section.&lt;/div&gt;
----
= Current Discussion =</text>
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      <timestamp>2018-10-01T00:36:31Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
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      <minor/>
      <comment>1 revisión importada: Moving archived Wikispaces discussion to subpage</comment>
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      <format>text/x-wiki</format>
      <text bytes="439" sha1="a7tbq6l7bu5aruqej6hv5tinx5peke6" xml:space="preserve">= OLD: Archived Wikispaces Discussion =
&lt;div style="text-align:center; background-color: #fee;"&gt;&lt;big&gt;'''This page contains archived discussion from Wikispaces.'''&lt;/big&gt;&lt;br/&gt;This archived discussion can be found at [[{{FULLPAGENAME}}/WikispacesArchive]].&lt;br/&gt;Please add any new discussion &lt;strong&gt;below&lt;/strong&gt; this section, at the bottom of the page.&lt;br/&gt;Do not add any new discussion above this section.&lt;/div&gt;
----
= Current Discussion =</text>
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    <title>Archivo:Armodue Neck.PNG</title>
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      <comment>**Imported file from Wikispaces. File was uploaded on 2012-11-15 02:00:59 by Osmiorisbendi, and is 30690 bytes.**</comment>
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      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="123" sha1="dh5di439tlskewfzlxp34pfij0ps9ti" xml:space="preserve">== Summary ==
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        <id>2</id>
      </contributor>
      <comment>Maintenance script subió [[Archivo:Armodue Neck.PNG]]</comment>
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Imported file from Wikispaces. File was uploaded on 2012-11-14 23:50:46 by Osmiorisbendi, and is 72645 bytes.</text>
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      <comment>Maintenance script subió [[Archivo:Ciclo Icositrifonía.png]]</comment>
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      <comment>Maintenance script subió [[Archivo:Gitarra Nonadecafónica Freenote (19-ED2).png]]</comment>
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      <comment>Maintenance script subió [[Archivo:Icositrifonía superdiatónica.png]]</comment>
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Imported file from Wikispaces. File was uploaded on 2012-11-14 23:52:43 by Osmiorisbendi, and is 229801 bytes.</text>
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      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
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      <comment>**Imported file from Wikispaces. File was uploaded on 2012-11-15 00:01:40 by Osmiorisbendi, and is 49569 bytes.**</comment>
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Imported file from Wikispaces. File was uploaded on 2012-11-15 00:01:40 by Osmiorisbendi, and is 49569 bytes.</text>
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      <contributor>
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        <id>2</id>
      </contributor>
      <comment>Maintenance script subió [[Archivo:Icositriphonic Bass.JPG]]</comment>
      <origin>147</origin>
      <model>wikitext</model>
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      <text bytes="123" sha1="2usz8by6645p0rj4q1a55tve6nct79t" xml:space="preserve">== Summary ==
Imported file from Wikispaces. File was uploaded on 2012-11-15 00:01:40 by Osmiorisbendi, and is 49569 bytes.</text>
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    <title>Archivo:Icositriphonic Gitar 1.JPG</title>
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      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
        <id>0</id>
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      <comment>**Imported file from Wikispaces. File was uploaded on 2012-11-15 00:00:08 by Osmiorisbendi, and is 1069300 bytes.**</comment>
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Imported file from Wikispaces. File was uploaded on 2012-11-15 00:00:08 by Osmiorisbendi, and is 1069300 bytes.</text>
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      <contributor>
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        <id>2</id>
      </contributor>
      <comment>Maintenance script subió [[Archivo:Icositriphonic Gitar 1.JPG]]</comment>
      <origin>149</origin>
      <model>wikitext</model>
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Imported file from Wikispaces. File was uploaded on 2012-11-15 00:00:08 by Osmiorisbendi, and is 1069300 bytes.</text>
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    <title>Archivo:Sqr std Strat LH 23-EDD.png</title>
    <ns>6</ns>
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      <contributor>
        <username>Wikispaces&gt;Osmiorisbendi</username>
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      <contributor>
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        <id>2</id>
      </contributor>
      <comment>Maintenance script subió [[Archivo:Sqr std Strat LH 23-EDD.png]]</comment>
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  <page>
    <title>Wikispaces Wikitext Reference</title>
    <ns>0</ns>
    <id>37</id>
    <revision>
      <id>146</id>
      <timestamp>2018-08-19T06:07:14Z</timestamp>
      <contributor>
        <username>PreImportHandChanges&gt;Battaglia01</username>
        <id>0</id>
      </contributor>
      <comment>Wikispaces wikitext reference</comment>
      <origin>146</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="16927" sha1="lkdjm0f73dpxx0fv90tq2hsc3dlszdc" xml:space="preserve">'''Below is the original Wikispaces wikitext specification, as seen previously on Wikispaces.'''

''' It is archived here for reference, which may be useful when looking at old Wikispaces revisions and trying to understand the wikitext markup.'''

'''Note that this wikitext format is ''NOT'' the same as MediaWiki's wikitext format.'''
__NOTOC__
----

= Wikispaces Wikitext =
Last Updated: May 06, 2015 12:35AM BST

=== Text Formatting ===
{| class="wikitable"
|Bold
|&lt;code&gt;**bold**&lt;/code&gt;
| colspan="2" |'''bold'''
|-
|Italics
|&lt;code&gt;//italics//&lt;/code&gt;
| colspan="2" |''italics''
|-
|Underline
|&lt;code&gt;__underline__&lt;/code&gt;
| colspan="2" |underline
|-
|Monospaced font
|&lt;code&gt;&lt;nowiki&gt;{{monospace}}&lt;/nowiki&gt;&lt;/code&gt;
| colspan="2" |&lt;code&gt;monospace&lt;/code&gt;
|-
|Headings
|&lt;code&gt;=heading 1=&lt;/code&gt;&lt;code&gt;==heading 2==&lt;/code&gt;&lt;code&gt;===heading 3===&lt;/code&gt;...etc.
| colspan="2" |
= heading 1 =

== heading 2 ==

=== heading 3 ===
|-
|Bulleted lists
|&lt;code&gt;* list 1&lt;/code&gt;&lt;code&gt;** list 2&lt;/code&gt;&lt;code&gt;*** list 3&lt;/code&gt;...etc.
| colspan="2" |
* list 1
** list 2
*** list 3
|-
|Numbered lists
|&lt;code&gt;# numbered 1&lt;/code&gt;&lt;code&gt;## numbered 2&lt;/code&gt;&lt;code&gt;### numbered 3&lt;/code&gt;...etc.
| colspan="2" |
# numbered 1
## numbered 2
### numbered 3
|-
|Indenting
|&lt;code&gt;&gt; indent 1&lt;/code&gt;&lt;code&gt;&gt;&gt; indent 2&lt;/code&gt;&lt;code&gt;&gt;&gt;&gt; indent 3&lt;/code&gt;...etc.
| colspan="2" |
* indent 1
** indent 2
*** indent 3
|-
|Horizontal line
|&lt;code&gt;----&lt;/code&gt;
| colspan="2" |
----
|-
|Right-to-left text
(to format languages
that read right-to-left)
|&lt;code&gt;&lt;nowiki&gt;[[rtl]]&lt;/nowiki&gt;&lt;/code&gt;זה עברית
...etc.
&lt;code&gt;&lt;nowiki&gt;[[rtl]]&lt;/nowiki&gt;&lt;/code&gt;'''Note:''' &lt;code&gt;&lt;nowiki&gt;[[rtl]]&lt;/nowiki&gt;&lt;/code&gt; tags must

be on their own lines.
| colspan="2" |זה עברית

...etc.
|-
| colspan="4" |''When you want to display characters that have other meanings in wikitext, you can escape the wikitext formatting by putting double backtick characters on either side of your text. The backtick shares a key with the tilde.''
|-
|Escaping
|&lt;code&gt;``**escaping**``&lt;/code&gt;
| colspan="2" |**escaping**
|}

=== Links ===
{| class="wikitable"
|Page link
|&lt;code&gt;&lt;nowiki&gt;[[PageName]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Labeled page link
|&lt;code&gt;&lt;nowiki&gt;[[PageName|DisplayText]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Link to page in another wiki
|&lt;code&gt;&lt;nowiki&gt;[[WikiName:PageName]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Labeled link to page in another wiki
|&lt;code&gt;&lt;nowiki&gt;[[WikiName:PageName|DisplayText]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|URL
|&lt;code&gt;&lt;nowiki&gt;http://some.url&lt;/nowiki&gt;&lt;/code&gt;&lt;code&gt;&lt;nowiki&gt;[[http://some.url]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Labeled URL
|&lt;code&gt;&lt;nowiki&gt;[[http://some.url|DisplayText]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Email
|&lt;code&gt;help@wikispaces.com&lt;/code&gt;&lt;code&gt;&lt;nowiki&gt;[[mailto:help@wikispaces.com]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Labeled email
|&lt;code&gt;&lt;nowiki&gt;[[mailto:help@wikispaces.org|DisplayText]]&lt;/nowiki&gt;&lt;/code&gt;
|}

=== Anchors ===
Anchors let you link to a particular part of a page.
{| class="wikitable"
|Place an anchor
|&lt;code&gt;&lt;nowiki&gt;[[#AnchorName]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Link to an anchor
|&lt;code&gt;&lt;nowiki&gt;[[PageName#AnchorName|DisplayText]]&lt;/nowiki&gt;&lt;/code&gt;
|}

=== Images ===
{| class="wikitable"
| colspan="3" |
==== Include an image ====
|-
|Include external image
|&lt;code&gt;image:&lt;nowiki&gt;http://imagelocation.url&lt;/nowiki&gt;&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;[[image:http://www.wikispaces.com/i/l.png]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Include uploaded image
|&lt;code&gt;image:imagename&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;[[image:wikispaces-logo.png]]&lt;/nowiki&gt;&lt;/code&gt;
|-
| colspan="3" |
==== Image attributes ====
|-
|Determine width of image
|&lt;code&gt;width="pixel"&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;[[image:wikispaces-logo.png width="80"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Determine height of image
|&lt;code&gt;height="pixel"&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;[[image:wikispaces-logo.png height="80"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Float the image to the left and wrap the text around it
|&lt;code&gt;align="left"&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;[[image:wikispaces-logo.png align="left"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Float the image to the right and wrap the text around it
|&lt;code&gt;align="right"&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;[[image:wikispaces-logo.png align="right"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Center the image in the middle of the page or table cell
|&lt;code&gt;align="center"&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;[[image:wikispaces-logo.png align="center"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Add a caption for the image
|&lt;code&gt;caption="an image caption"&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;[[image:wikispaces-logo.png caption="This is the Wikispaces logo"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
| rowspan="3" |Make the image a link to another page or URL
|&lt;code&gt;link="page"&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;[[image:wikispaces-logo.png link="home"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|&lt;code&gt;link="Wiki:PageName"&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;[[image:wikispaces-logo.png link="help:home"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|&lt;code&gt;link="&lt;nowiki&gt;http://some.url&lt;/nowiki&gt;"&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;[[image:wikispaces-logo.png link="http://help.wikispaces.com/"]]&lt;/nowiki&gt;&lt;/code&gt;
|}

=== Files ===
&lt;code&gt;&lt;nowiki&gt;[[file:name.txt]]&lt;/nowiki&gt;&lt;/code&gt;Just replace ''name.txt'' with the name of any file you have uploaded to your wiki.

=== Tables ===
{| class="wikitable"
|Table
|&lt;code&gt;&lt;nowiki&gt;|| table cell || table cell || table cell ||&lt;/nowiki&gt;&lt;/code&gt;
|-
|Table heading cell
|&lt;code&gt;&lt;nowiki&gt;||~ heading1 ||~ heading2 ||&lt;/nowiki&gt;&lt;/code&gt;
|-
|Table cell alignment
|&lt;code&gt;&lt;nowiki&gt;||= centered ||&gt; right ||&lt;/nowiki&gt;&lt;/code&gt;
|-
|Table column spans (merging columns together)
|&lt;code&gt;&lt;nowiki&gt;|||| spans 2 columns ||&lt;/nowiki&gt;&lt;/code&gt;&lt;code&gt;&lt;nowiki&gt;|| col1 || col2 ||&lt;/nowiki&gt;&lt;/code&gt;
|-
|Table row spans (merging rows together)
|&lt;code&gt;&lt;nowiki&gt;|| spans 2 rows || row 1 ||&lt;/nowiki&gt;&lt;/code&gt;&lt;code&gt;&lt;nowiki&gt;||^ || row 2 ||&lt;/nowiki&gt;&lt;/code&gt;
|}

=== Code ===
{| class="wikitable"
|&lt;code&gt;&lt;nowiki&gt;[[code]]&lt;/nowiki&gt;&lt;/code&gt;&lt;code&gt;This is plaintext.&lt;/code&gt;&lt;code&gt;&lt;nowiki&gt;[[code]]&lt;/nowiki&gt;&lt;/code&gt;
|
 This is plaintext.
|-
|&lt;code&gt;&lt;nowiki&gt;[[code format="php"]]&lt;/nowiki&gt;&lt;/code&gt;&lt;code&gt;// hello world&lt;/code&gt;&lt;code&gt;echo "hello world";&lt;/code&gt;&lt;code&gt;exit();&lt;/code&gt;&lt;code&gt;&lt;nowiki&gt;[[code]]&lt;/nowiki&gt;&lt;/code&gt;
|
 ''// hello world''
 echo "hello world";
 exit();
|}
'''Note''' that both &lt;code&gt;&lt;nowiki&gt;[[code]]&lt;/nowiki&gt;&lt;/code&gt; tags must be on a line by themselves without leading spaces.

=== Supported languages ===
{| class="wikitable"
|
* 4cs
* abap
* actionscript
* actionscript3
* ada
* apache (Apache configuration files)
* applescript
* apt_sources
* asm (x86 Assembler)
* asp (Active Server Pages)
* autoconf
* autohotkey
* autoit (AutoIt Window automation script)
* avisynth
* bash (Bourne Again Shell)
* basic4gl
* bb4w
* bf (Brainf**k)
* bibtext (BibTeX)
* blitzbasic
* boo
* bnf (BNF: Backus-Naur form)
* c
* cfdg (Context-Free Design Grammar)
* cfm (Coldfusion)
* chaiscript
* cil
* clojure
* cmake
* cobol
* cpp (C++)
* cpp-qt (C++ (QT)
* csharp (C#)
* css (Cascading Style Sheets)
* cuesheet
* d (D programming language)
* dcs
* delphi (Delphi Object Pascal)
* diff
* div
* dos
* dot
* ecmascript (ECMAScript)
* eiffel
* email (Email (mbox, eml, RFC format))
* erlang
* f#
* fo (FO (abas-ERP))
* fortran
* freebasic
* gambas
* gdb
* genero
* genie
* gettext
* glsl (glSlang)
* gml (Game Maker Language)
|
* gnuplot
* groovy
* gwbasic
* haskell
* hicest (HicEst)
* hq9plus (HQ9+)
* html4strict
* icon
* idl (Uno IDL)
* ini
* inno (Inno Script Object Pascal)
* intercal
* io
* j
* java
* java5 (Java programming language, version 5 syntax)
* javascript
* jquery
* kixtart (KixTart)
* klonec (Klone C)
* klonecpp (Klone C++)
* latex
* lb (Liberty Basic)
* linoleum
* lisp
* locobasic (Locomotive Basic)
* logtalk
* lolcode
* lotusformulas (Lotus Notes @Formulas)
* lotusscript (LotusScript)
* lsl2
* lscript (LScript)
* lua
* magicksf
* make
* mapbasic
* matlab
* mirc
* mmix
* modula2
* modula3
* m68k (Motorola 68000 Assembler)
* mxml
* mysql (MySQL-specific SQL)
* newlisp
* oberon2 (Oberon-2)
* pf (OpenBSD Packet Filter)
* oracle8 (Oracle-specific SQL)
* oracle11 (Oracle 11i SQL)
* ocaml (Objective Caml)
* oxygene (Oxygene Delphi Prism)
* oz
* pascal
* pcre
* per
* perl
* perl6
|
* php
* pic16
* pike
* pixelbender
* plsql (PL/SQL)
* postgresql
* povray
* powerbuilder
* powershell (posh)
* progress
* prolog
* properties
* providex (ProvideX)
* purebasic (PureBasic)
* python
* q (q/kdb+)
* qbasic
* rsplus (R / S+)
* rails
* rebol
* reg (Microsoft Registry)
* robots (Robots.txt)
* rpmspec (RPM Specification File)
* ruby
* sas
* scala
* scheme
* scilab (SciLab)
* sdlbasic
* smalltalk
* smarty (Smarty PHP template language)
* sql
* systemverilog
* tcl
* terraterm (Tera Term Maco)
* text (No highlighting)
* thinbasic
* tsql (Transact-SQL)
* typoscript
* unicon (Unified Extended Dialect of Icon)
* vala
* verilog
* vb (Visual Basic)
* vbnet (Visual Basic .NET)
* vhdl (VHSICADL, very high speed integrated circuit HDL)
* vim (Vim Script)
* visualfoxpro
* visualprolog
* whitespace
* whois
* winbatch (Windows Batch Scripting)
* xbasic
* xorg_conf (X.org configuration)
* xml
* z80 (ZiLOG Z80 Assembler)
|}

=== References (Footnotes) ===
{| class="wikitable"
|Add citation
|&lt;code&gt;&lt;nowiki&gt;&lt;ref&gt;&lt;/nowiki&gt;&lt;/code&gt; ...&lt;code&gt;&lt;nowiki&gt;&lt;/ref&gt;&lt;/nowiki&gt;&lt;/code&gt;
| rowspan="2" |&lt;code&gt;I am making a very important point, but it needs a reference.&lt;nowiki&gt;&lt;ref&gt;This is the reference to back up my point.&lt;/ref&gt;&lt;/nowiki&gt;&lt;/code&gt;
&lt;code&gt;I am now pointing out something else, and referencing it.&lt;nowiki&gt;&lt;ref&gt;This is my second citation.&lt;/ref&gt;&lt;/nowiki&gt;&lt;/code&gt;
&lt;code&gt;**I'd like my references right here:**&lt;/code&gt;&lt;code&gt;&lt;nowiki&gt;&lt;references /&gt;&lt;/nowiki&gt;&lt;/code&gt;&lt;code&gt;----&lt;/code&gt;&lt;code&gt;Look, text after my references section!&lt;/code&gt;
| rowspan="2" |I am making a very important point, but it needs a reference.[1]
I am now pointing out something else, and referencing it.[2]
'''I'd like my references right here:'''
# ^ This is the reference to back up my point.
# ^ This is my second citation.
----Look, text after my references section!
|-
|Place references
(if you don't use this tag, references will appear at the bottom of the page)
|&lt;code&gt;&lt;nowiki&gt;&lt;references /&gt;&lt;/nowiki&gt;&lt;/code&gt;
|}

=== RSS Feeds ===
&lt;code&gt;&lt;nowiki&gt;[[rss url="http://source.url/feed"]]&lt;/nowiki&gt;&lt;/code&gt;Replace ''&lt;nowiki&gt;http://source.url/feed&lt;/nowiki&gt;'' with the URL of your RSS feed. By default, this will display the last ten updates as text links, but you can make the following modifications to how your feed will be displayed:

{| class="wikitable"
|'''url'''
|'''full URL to the feed (required)'''
|-
|title
|title text to display above the feed (or blank for none)
|-
|number
|how many items to show, default 10
|-
|description
|to show each item's description text, either "true" or default "false"
|-
|date
|to show the item date after the title, either "true" or default "false"
|-
|author
|to show the author of the item after the title, either "true" or default "false"
|-
|length
|the number of characters to show in the description, max. 250
|-
|enclosure
|to show each item's media enclosures (audio, video, pictures), either "true" or default "false"
|}

=== Variables ===
The variables below will let you place dynamic content in your pages. Since pages are sometimes cached after being created, some items, such as the number of pages in the wiki, may not be updated immediately.

==== Supported variables ====
{| class="wikitable"
| colspan="2" |'''Namespace'''
|-
|Wiki name
|&lt;code&gt;{$spacename}&lt;/code&gt;
|-
|Wiki text
|&lt;code&gt;{$spacetext}&lt;/code&gt;
|-
|Wiki description
|&lt;code&gt;{$spacedescription}&lt;/code&gt;
|-
|Page Count
|&lt;code&gt;{$pagesinspace}&lt;/code&gt;
|-
|Servername (the hostname of the wiki)
|&lt;code&gt;{$servername}&lt;/code&gt;
|-
|Server (the url for the main page of the wiki)
|&lt;code&gt;{$server}&lt;/code&gt;
|-
|License
|&lt;code&gt;{$licensename}&lt;/code&gt;
|-
|License URL
|&lt;code&gt;{$licenseurl}&lt;/code&gt;
|-
|Member Count
|&lt;code&gt;{$membersinspace}&lt;/code&gt;
|-
|Organizer Count
|&lt;code&gt;{$organizersinspace}&lt;/code&gt;
|-
|Project Name
|&lt;code&gt;{$project}&lt;/code&gt;
|-
|Team Name
|&lt;code&gt;{$team}&lt;/code&gt;
|-
| colspan="2" |'''Page'''
|-
|Page Name
|&lt;code&gt;{$page}&lt;/code&gt;
|-
|Revision count
|&lt;code&gt;{$pagerevisions}&lt;/code&gt;
|-
|Full Page Name (alias for &lt;code&gt;{$spacename}:{$page})&lt;/code&gt;
|&lt;code&gt;{$fullpagename}&lt;/code&gt;
|-
| colspan="2" |'''Revision'''
|-
|Editor (Username of the user, or the IP address of the guest, who create this revision)
|&lt;code&gt;{$revisioneditor}&lt;/code&gt;
|-
|Comment
|&lt;code&gt;{$revisioncomment}&lt;/code&gt;
|-
|Revision ID
|&lt;code&gt;{$revisionid}&lt;/code&gt;
|-
| colspan="2" |'''Revision Dates'''
|-
|Date (In human readable format)
|&lt;code&gt;{$revisiondate}&lt;/code&gt;
|-
|Day
|&lt;code&gt;{$revisionday}&lt;/code&gt;
|-
|Day (with leading zero)
|&lt;code&gt;{$revisionday2}&lt;/code&gt;
|-
|Month
|&lt;code&gt;{$revisionmonth}&lt;/code&gt;
|-
|Year
|&lt;code&gt;{$revisionyear}&lt;/code&gt;
|-
|Timestamp (In ISO 8601 Format)
|&lt;code&gt;{$revisiontimestamp}&lt;/code&gt;
|-
| colspan="2" |'''Creation'''
|-
|Creator(Username of the user, or the IP address of the guest, who created this page)
|&lt;code&gt;{$creator}&lt;/code&gt;
|-
|Comment
|&lt;code&gt;{$creationcomment}&lt;/code&gt;
|-
|Creation Page ID
|&lt;code&gt;{$creationid}&lt;/code&gt;
|-
| colspan="2" |'''Creation Dates'''
|-
|Date (In human readable format)
|&lt;code&gt;{$creationdate}&lt;/code&gt;
|-
|Day
|&lt;code&gt;{$creationday}&lt;/code&gt;
|-
|Day (with leading zero)
|&lt;code&gt;{$creationday2}&lt;/code&gt;
|-
|Month
|&lt;code&gt;{$creationmonth}&lt;/code&gt;
|-
|Year
|&lt;code&gt;{$creationyear}&lt;/code&gt;
|-
|Timestamp (In ISO 8601 Format)
|&lt;code&gt;{$creationtimestamp}&lt;/code&gt;
|-
| colspan="2" |'''User'''
|-
|User Name
|&lt;code&gt;{$username}&lt;/code&gt;
|}

==== Variable modifiers ====
Modifiers are used to change the value of the variable into a different format. Modifiers are separated from the variable name with the pipe (|) character, and can be combined together — for example, &lt;code&gt;{$pagename|ignoreinclude|url}&lt;/code&gt;.

{| class="wikitable"
| colspan="3" |'''Output modifiers'''
|-
|URL escaping
|&lt;code&gt;&lt;nowiki&gt;|url&lt;/nowiki&gt;&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;{$server|url}&lt;/nowiki&gt;&lt;/code&gt;
|-
| colspan="3" |'''Scope modifiers'''
|-
|Ignore include
This modifier tells the variable to return the value of the original page it's on, even if that page is included in another page (see below).
|&lt;code&gt;&lt;nowiki&gt;|ignoreinclude&lt;/nowiki&gt;&lt;/code&gt;
|&lt;code&gt;&lt;nowiki&gt;{$page|ignoreinclude}&lt;/nowiki&gt;&lt;/code&gt;
|}

==== Javascript variables ====
While editing Pages, it is possible to include Javascript inside an Embedded Object.
Several variables can be accessed from the client side to determine the current state of the application, as follows:
{| class="wikitable"
| colspan="3" |'''User/space definition variables'''
|-
|&lt;code&gt;wikispaces_isUserLoggedIn&lt;/code&gt;
|boolean
|set if user has entered valid login information
|-
|&lt;code&gt;wikispaces_username&lt;/code&gt;
|string
|set to current user's login handle
|-
|&lt;code&gt;wikispaces_spaceName&lt;/code&gt;
|string
|set to current Space that user is viewing
|-
| colspan="3" |'''URL construction variables'''
|-
|&lt;code&gt;wikispaces_method&lt;/code&gt;
|string
|system - type of function being performed ( 'view', etc. )
|-
|&lt;code&gt;wikispaces_object&lt;/code&gt;
|string
|system - type of object being viewed/modified ( 'message', etc. )
|-
|&lt;code&gt;wikispaces_page&lt;/code&gt;
|string
|set to name of current wikipage
|-
|&lt;code&gt;wikispaces_id&lt;/code&gt;
|string
|system - object identifier ( for messages )
|}

=== Contents of Another Wiki Page ===
The entire contents of one page can be pasted into another with the &lt;code&gt;&lt;nowiki&gt;[[include]]&lt;/nowiki&gt;&lt;/code&gt; tag. This can be useful in breaking a large page up into smaller, more manageable pieces, or to create reusable components, like headers and footers. The only required attribute of the include tag is the '''page''' attribute.

==== Supported includes ====
{| class="wikitable"
|Basic page include
|&lt;code&gt;&lt;nowiki&gt;[[include page="PAGENAME"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Include page with section title
|&lt;code&gt;&lt;nowiki&gt;[[include page="PAGENAME" title="Section Title"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Include page with direct edit button
|&lt;code&gt;&lt;nowiki&gt;[[include page="PAGENAME" editable="true"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Include a list of pages
|&lt;code&gt;&lt;nowiki&gt;[[include component="pageList"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Include a list of pages with a tag
|&lt;code&gt;&lt;nowiki&gt;[[include component="pageList" tag="TAGNAME"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Include a tag cloud
|&lt;code&gt;&lt;nowiki&gt;[[include component="tagCloud" ]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Include a discussion page
|&lt;code&gt;&lt;nowiki&gt;[[include page="PAGENAME" component="comments"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Include a list of links to this page
|&lt;code&gt;&lt;nowiki&gt;[[include page="PAGENAME" component="backlinks"]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Include page from another wiki
|&lt;code&gt;&lt;nowiki&gt;[[include page="WIKINAME:PAGENAME"]]&lt;/nowiki&gt;&lt;/code&gt;
|}

=== Other Special Tags ===
{| class="wikitable"
|Signature
|&lt;code&gt;&lt;nowiki&gt;~~~&lt;/nowiki&gt;&lt;/code&gt;
|-
|Signature with date
|&lt;code&gt;&lt;nowiki&gt;~~~~&lt;/nowiki&gt;&lt;/code&gt;
|-
|Mathematics
(supporting LaTeX math markup)
|&lt;code&gt;&lt;nowiki&gt;[[math]]&lt;/nowiki&gt;&lt;/code&gt;&lt;code&gt;\tilde{f}(\omega)=\int_{-\infty}^{\infty} f(t) e^{-i\omega t}\,dt&lt;/code&gt;&lt;code&gt;&lt;nowiki&gt;[[math]]&lt;/nowiki&gt;&lt;/code&gt;('''Note''' that the &lt;code&gt;&lt;nowiki&gt;[[math]]&lt;/nowiki&gt;&lt;/code&gt; tags must be on their own lines.)
|-
|Embedded media
|&lt;code&gt;[[media&lt;/code&gt; ... &lt;code&gt;]]&lt;/code&gt;
|-
|Table of contents, flat
|&lt;code&gt;&lt;nowiki&gt;[[toc|flat]]&lt;/nowiki&gt;&lt;/code&gt;
|-
|Table of contents
|&lt;code&gt;&lt;nowiki&gt;[[toc]]&lt;/nowiki&gt;&lt;/code&gt;
|}</text>
      <sha1>lkdjm0f73dpxx0fv90tq2hsc3dlszdc</sha1>
    </revision>
  </page>
  <page>
    <title>Home</title>
    <ns>0</ns>
    <id>38</id>
    <redirect title="es:Bienvenidos" />
    <revision>
      <id>155</id>
      <timestamp>2018-09-14T19:38:06Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <comment>Battaglia01 trasladó la página [[Home]] a [[Página principal]]: Home page</comment>
      <origin>155</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="35" sha1="7prmfoubnyrlj8bps60tp2micmqq6ap" xml:space="preserve">#REDIRECCIÓN [[Página principal]]</text>
      <sha1>7prmfoubnyrlj8bps60tp2micmqq6ap</sha1>
    </revision>
    <revision>
      <id>292</id>
      <parentid>155</parentid>
      <timestamp>2018-10-15T11:32:25Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>hard redirect for main page</comment>
      <origin>292</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="33" sha1="i0335mht5kghtpixocpntuhamcgoqc4" xml:space="preserve">#REDIRECCIÓN [[:es:Bienvenidos]]</text>
      <sha1>i0335mht5kghtpixocpntuhamcgoqc4</sha1>
    </revision>
  </page>
  <page>
    <title>Discusión:Página principal</title>
    <ns>1</ns>
    <id>39</id>
    <revision>
      <id>157</id>
      <timestamp>2018-09-14T19:38:06Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <comment>Battaglia01 trasladó la página [[Discusión:Home]] a [[Discusión:Página principal]]: Home page</comment>
      <origin>157</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="46" sha1="gpmdj29vy5iltycxss2yuowdqik6irn" xml:space="preserve">#REDIRECCIÓN [[Discusión:Página principal]]</text>
      <sha1>gpmdj29vy5iltycxss2yuowdqik6irn</sha1>
    </revision>
    <revision>
      <id>173</id>
      <parentid>157</parentid>
      <timestamp>2018-10-01T00:35:35Z</timestamp>
      <contributor>
        <username>WikispacesArchive&gt;Mike Battaglia</username>
        <id>0</id>
      </contributor>
      <comment>Battaglia01 trasladó la página [[Discusión:Home]] a [[Discusión:Página principal]]: Home page</comment>
      <origin>173</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="487" sha1="048ry883t6aswjsie3nq61z3k2izyyj" xml:space="preserve">= OLD: Archived Wikispaces Discussion =
&lt;div style="text-align:center; background-color: #fee;"&gt;&lt;big&gt;'''This page contains archived discussion from Wikispaces.'''&lt;/big&gt;&lt;br/&gt;This archived discussion can be found at [[{{FULLPAGENAME}}/WikispacesArchive]].&lt;br/&gt;Please add any new discussion &lt;strong&gt;below&lt;/strong&gt; this section, at the bottom of the page.&lt;br/&gt;Do not add any new discussion above this section.&lt;/div&gt;
----
= Current Discussion =

#REDIRECCIÓN [[Discusión:Página principal]]</text>
      <sha1>048ry883t6aswjsie3nq61z3k2izyyj</sha1>
    </revision>
    <revision>
      <id>174</id>
      <parentid>173</parentid>
      <timestamp>2018-10-01T00:36:31Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Moving archived Wikispaces discussion to subpage</comment>
      <origin>174</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="487" sha1="048ry883t6aswjsie3nq61z3k2izyyj" xml:space="preserve">= OLD: Archived Wikispaces Discussion =
&lt;div style="text-align:center; background-color: #fee;"&gt;&lt;big&gt;'''This page contains archived discussion from Wikispaces.'''&lt;/big&gt;&lt;br/&gt;This archived discussion can be found at [[{{FULLPAGENAME}}/WikispacesArchive]].&lt;br/&gt;Please add any new discussion &lt;strong&gt;below&lt;/strong&gt; this section, at the bottom of the page.&lt;br/&gt;Do not add any new discussion above this section.&lt;/div&gt;
----
= Current Discussion =

#REDIRECCIÓN [[Discusión:Página principal]]</text>
      <sha1>048ry883t6aswjsie3nq61z3k2izyyj</sha1>
    </revision>
    <revision>
      <id>177</id>
      <parentid>174</parentid>
      <timestamp>2018-10-01T00:36:56Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <origin>177</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="439" sha1="a7tbq6l7bu5aruqej6hv5tinx5peke6" xml:space="preserve">= OLD: Archived Wikispaces Discussion =
&lt;div style="text-align:center; background-color: #fee;"&gt;&lt;big&gt;'''This page contains archived discussion from Wikispaces.'''&lt;/big&gt;&lt;br/&gt;This archived discussion can be found at [[{{FULLPAGENAME}}/WikispacesArchive]].&lt;br/&gt;Please add any new discussion &lt;strong&gt;below&lt;/strong&gt; this section, at the bottom of the page.&lt;br/&gt;Do not add any new discussion above this section.&lt;/div&gt;
----
= Current Discussion =</text>
      <sha1>a7tbq6l7bu5aruqej6hv5tinx5peke6</sha1>
    </revision>
    <revision>
      <id>178</id>
      <parentid>177</parentid>
      <timestamp>2018-10-01T00:37:24Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>Mike Battaglia trasladó la página [[Discusión:Home]] a [[Discusión:Página principal]]</comment>
      <origin>178</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="439" sha1="a7tbq6l7bu5aruqej6hv5tinx5peke6" xml:space="preserve">= OLD: Archived Wikispaces Discussion =
&lt;div style="text-align:center; background-color: #fee;"&gt;&lt;big&gt;'''This page contains archived discussion from Wikispaces.'''&lt;/big&gt;&lt;br/&gt;This archived discussion can be found at [[{{FULLPAGENAME}}/WikispacesArchive]].&lt;br/&gt;Please add any new discussion &lt;strong&gt;below&lt;/strong&gt; this section, at the bottom of the page.&lt;br/&gt;Do not add any new discussion above this section.&lt;/div&gt;
----
= Current Discussion =</text>
      <sha1>a7tbq6l7bu5aruqej6hv5tinx5peke6</sha1>
    </revision>
    <revision>
      <id>264</id>
      <parentid>178</parentid>
      <timestamp>2018-10-13T20:38:34Z</timestamp>
      <contributor>
        <username>Hstraub</username>
        <id>7</id>
      </contributor>
      <comment>https://en.xen.wiki/w/Bienvenidos .</comment>
      <origin>264</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="624" sha1="1ym676tgbqtgm7ch7xmynnqaxj5aqkp" xml:space="preserve">= OLD: Archived Wikispaces Discussion =
&lt;div style="text-align:center; background-color: #fee;"&gt;&lt;big&gt;'''This page contains archived discussion from Wikispaces.'''&lt;/big&gt;&lt;br/&gt;This archived discussion can be found at [[{{FULLPAGENAME}}/WikispacesArchive]].&lt;br/&gt;Please add any new discussion &lt;strong&gt;below&lt;/strong&gt; this section, at the bottom of the page.&lt;br/&gt;Do not add any new discussion above this section.&lt;/div&gt;
----
= Current Discussion =
Should the content of [[:en:Bienvenidos|en://en.xen.wiki/w/Bienvenidos]] be moved here? [[Usuario:Hstraub|Hstraub]] ([[Usuario discusión:Hstraub|discusión]]) 20:38 13 oct 2018 (UTC)|</text>
      <sha1>1ym676tgbqtgm7ch7xmynnqaxj5aqkp</sha1>
    </revision>
    <revision>
      <id>269</id>
      <parentid>264</parentid>
      <timestamp>2018-10-13T23:28:12Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>/* Current Discussion */ re</comment>
      <origin>269</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="754" sha1="q9r78kja48mampvzadp741ghgxnxrkq" xml:space="preserve">= OLD: Archived Wikispaces Discussion =
&lt;div style="text-align:center; background-color: #fee;"&gt;&lt;big&gt;'''This page contains archived discussion from Wikispaces.'''&lt;/big&gt;&lt;br/&gt;This archived discussion can be found at [[{{FULLPAGENAME}}/WikispacesArchive]].&lt;br/&gt;Please add any new discussion &lt;strong&gt;below&lt;/strong&gt; this section, at the bottom of the page.&lt;br/&gt;Do not add any new discussion above this section.&lt;/div&gt;
----
= Current Discussion =
Should the content of [[:en:Bienvenidos|en://en.xen.wiki/w/Bienvenidos]] be moved here? [[Usuario:Hstraub|Hstraub]] ([[Usuario discusión:Hstraub|discusión]]) 20:38 13 oct 2018 (UTC)|
: Seems so. But I'm not sure... --[[Usuario:Xenwolf|Xenwolf]] ([[Usuario discusión:Xenwolf|discusión]]) 23:28 13 oct 2018 (UTC)</text>
      <sha1>q9r78kja48mampvzadp741ghgxnxrkq</sha1>
    </revision>
    <revision>
      <id>294</id>
      <parentid>269</parentid>
      <timestamp>2018-10-15T11:44:12Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>/* Current Discussion */ update</comment>
      <origin>294</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1088" sha1="4dqfdth0tampaal8ik3u0avhnei3ik2" xml:space="preserve">= OLD: Archived Wikispaces Discussion =
&lt;div style="text-align:center; background-color: #fee;"&gt;&lt;big&gt;'''This page contains archived discussion from Wikispaces.'''&lt;/big&gt;&lt;br/&gt;This archived discussion can be found at [[{{FULLPAGENAME}}/WikispacesArchive]].&lt;br/&gt;Please add any new discussion &lt;strong&gt;below&lt;/strong&gt; this section, at the bottom of the page.&lt;br/&gt;Do not add any new discussion above this section.&lt;/div&gt;
----
= Current Discussion =
Should the content of [[:en:Bienvenidos|en://en.xen.wiki/w/Bienvenidos]] be moved here? [[Usuario:Hstraub|Hstraub]] ([[Usuario discusión:Hstraub|discusión]]) 20:38 13 oct 2018 (UTC)|
: Seems so. But I'm not sure... --[[Usuario:Xenwolf|Xenwolf]] ([[Usuario discusión:Xenwolf|discusión]]) 23:28 13 oct 2018 (UTC)
:: I've merged both pages. Since you have real Spanish skills, would you please have a look on it? I'd suggest to bring the image up, maybe in a smaller size. I found the German home quite good now compared to this home page. Greetings --[[Usuario:Xenwolf|Xenwolf]] ([[Usuario discusión:Xenwolf|discusión]]) 11:44 15 oct 2018 (UTC)</text>
      <sha1>4dqfdth0tampaal8ik3u0avhnei3ik2</sha1>
    </revision>
  </page>
  <page>
    <title>Migration FAQ</title>
    <ns>0</ns>
    <id>40</id>
    <redirect title="en:Migration FAQ" />
    <revision>
      <id>158</id>
      <timestamp>2018-09-14T19:39:01Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <comment>Migration FAQ</comment>
      <origin>158</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="30" sha1="r6mg1s4g50wmcy3a7allmzope54u0vw" xml:space="preserve">#REDIRECT [[en:Migration_FAQ]]</text>
      <sha1>r6mg1s4g50wmcy3a7allmzope54u0vw</sha1>
    </revision>
  </page>
  <page>
    <title>Backups</title>
    <ns>0</ns>
    <id>41</id>
    <redirect title="en:Backups" />
    <revision>
      <id>159</id>
      <timestamp>2018-09-15T23:45:30Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <comment>Página redirigida a [[en:Backups]]</comment>
      <origin>159</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="24" sha1="d53a7gvw28q6eyy48n6v4o779i7rquw" xml:space="preserve">#REDIRECT [[en:Backups]]</text>
      <sha1>d53a7gvw28q6eyy48n6v4o779i7rquw</sha1>
    </revision>
  </page>
  <page>
    <title>Archivo:Favicon.ico</title>
    <ns>6</ns>
    <id>42</id>
    <revision>
      <id>166</id>
      <timestamp>2018-09-30T05:49:21Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <origin>166</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="0" sha1="phoiac9h4m842xq45sp7s6u21eteeq1" xml:space="preserve" />
      <sha1>phoiac9h4m842xq45sp7s6u21eteeq1</sha1>
    </revision>
  </page>
  <page>
    <title>Discusión:Escala Blackwood/WikispacesArchive</title>
    <ns>1</ns>
    <id>43</id>
    <revision>
      <id>167</id>
      <timestamp>2018-10-01T00:35:35Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
      </contributor>
      <origin>167</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="851" sha1="4x8o5elml1ewxbtzl6pbp49kl9bd377" xml:space="preserve">
= ARCHIVED WIKISPACES DISCUSSION BELOW =
&lt;div style="text-align:center; background-color: #fee;"&gt;
&lt;big&gt;'''All discussion below is archived from the Wikispaces export in its original unaltered form.'''&lt;/big&gt;&lt;br/&gt;Please do not add any new discussion to this archive page.&lt;br/&gt;All new discussion should go on [[Talk:{{BASEPAGENAME}}]].&lt;/div&gt;
----


== Una sugerencia ==
Hola, antes ke nada, kiero hacer algo ke no cambie el sentido de 'L' y 's' en los tamaños de MOS. Les Sugiero ke sigan utilizando el 'L' como Intervalo Largo, y un cambio en la representación de los intervalos pekeños por 'c', ke significa Intervalo Corto.

Como ejemplo: Superdiatónica (Mávila-9) LLLsLLLLs (L, Long step; s, small or short step) =&amp;gt; LLLcLLLLc (L, paso Largo; c, paso corto).

¿Ké opinan?

- '''Osmiorisbendi''' September 20, 2011, 06:19:17 PM UTC-0700
----</text>
      <sha1>4x8o5elml1ewxbtzl6pbp49kl9bd377</sha1>
    </revision>
    <revision>
      <id>168</id>
      <parentid>167</parentid>
      <timestamp>2018-10-01T00:36:17Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Moving archived Wikispaces discussion to subpage</comment>
      <origin>168</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="851" sha1="4x8o5elml1ewxbtzl6pbp49kl9bd377" xml:space="preserve">
= ARCHIVED WIKISPACES DISCUSSION BELOW =
&lt;div style="text-align:center; background-color: #fee;"&gt;
&lt;big&gt;'''All discussion below is archived from the Wikispaces export in its original unaltered form.'''&lt;/big&gt;&lt;br/&gt;Please do not add any new discussion to this archive page.&lt;br/&gt;All new discussion should go on [[Talk:{{BASEPAGENAME}}]].&lt;/div&gt;
----


== Una sugerencia ==
Hola, antes ke nada, kiero hacer algo ke no cambie el sentido de 'L' y 's' en los tamaños de MOS. Les Sugiero ke sigan utilizando el 'L' como Intervalo Largo, y un cambio en la representación de los intervalos pekeños por 'c', ke significa Intervalo Corto.

Como ejemplo: Superdiatónica (Mávila-9) LLLsLLLLs (L, Long step; s, small or short step) =&amp;gt; LLLcLLLLc (L, paso Largo; c, paso corto).

¿Ké opinan?

- '''Osmiorisbendi''' September 20, 2011, 06:19:17 PM UTC-0700
----</text>
      <sha1>4x8o5elml1ewxbtzl6pbp49kl9bd377</sha1>
    </revision>
  </page>
  <page>
    <title>Discusión:Página principal/WikispacesArchive</title>
    <ns>1</ns>
    <id>44</id>
    <revision>
      <id>169</id>
      <timestamp>2018-10-01T00:35:35Z</timestamp>
      <contributor>
        <username>WikispacesArchive&gt;Mike Battaglia</username>
        <id>0</id>
      </contributor>
      <comment>Battaglia01 trasladó la página [[Discusión:Home]] a [[Discusión:Página principal]]: Home page</comment>
      <origin>169</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="875" sha1="pnkqx0mtxjcyshwjcltdystiyhdcrnq" xml:space="preserve">
= ARCHIVED WIKISPACES DISCUSSION BELOW =
&lt;div style="text-align:center; background-color: #fee;"&gt;
&lt;big&gt;'''All discussion below is archived from the Wikispaces export in its original unaltered form.'''&lt;/big&gt;&lt;br/&gt;Please do not add any new discussion to this archive page.&lt;br/&gt;All new discussion should go on [[Talk:{{BASEPAGENAME}}]].&lt;/div&gt;
----


== Buenas, ké tal (: ==
Buenas, como nativo hispanohablante, me gustaría ayudarles a corregir las sintaxis ortográficas. Es bueno que alguien haya pensado crear una página dedicada a la Xenarmonía en este idioma.

Saludos !!!'!!!!'

- '''Osmiorisbendi''' September 18, 2011, 02:31:40 PM UTC-0700
----
¡Gracias por la correcciones! No hablo español muy bien todavía, pero quiero hacer este información más disponible por las personas que habla español.

- '''Natebedell''' September 18, 2011, 06:40:06 PM UTC-0700
----</text>
      <sha1>pnkqx0mtxjcyshwjcltdystiyhdcrnq</sha1>
    </revision>
    <revision>
      <id>170</id>
      <parentid>169</parentid>
      <timestamp>2018-10-01T00:36:17Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Moving archived Wikispaces discussion to subpage</comment>
      <origin>170</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="875" sha1="pnkqx0mtxjcyshwjcltdystiyhdcrnq" xml:space="preserve">
= ARCHIVED WIKISPACES DISCUSSION BELOW =
&lt;div style="text-align:center; background-color: #fee;"&gt;
&lt;big&gt;'''All discussion below is archived from the Wikispaces export in its original unaltered form.'''&lt;/big&gt;&lt;br/&gt;Please do not add any new discussion to this archive page.&lt;br/&gt;All new discussion should go on [[Talk:{{BASEPAGENAME}}]].&lt;/div&gt;
----


== Buenas, ké tal (: ==
Buenas, como nativo hispanohablante, me gustaría ayudarles a corregir las sintaxis ortográficas. Es bueno que alguien haya pensado crear una página dedicada a la Xenarmonía en este idioma.

Saludos !!!'!!!!'

- '''Osmiorisbendi''' September 18, 2011, 02:31:40 PM UTC-0700
----
¡Gracias por la correcciones! No hablo español muy bien todavía, pero quiero hacer este información más disponible por las personas que habla español.

- '''Natebedell''' September 18, 2011, 06:40:06 PM UTC-0700
----</text>
      <sha1>pnkqx0mtxjcyshwjcltdystiyhdcrnq</sha1>
    </revision>
    <revision>
      <id>180</id>
      <parentid>170</parentid>
      <timestamp>2018-10-01T00:37:24Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>Mike Battaglia trasladó la página [[Discusión:Home/WikispacesArchive]] a [[Discusión:Página principal/WikispacesArchive]]</comment>
      <origin>180</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="875" sha1="pnkqx0mtxjcyshwjcltdystiyhdcrnq" xml:space="preserve">
= ARCHIVED WIKISPACES DISCUSSION BELOW =
&lt;div style="text-align:center; background-color: #fee;"&gt;
&lt;big&gt;'''All discussion below is archived from the Wikispaces export in its original unaltered form.'''&lt;/big&gt;&lt;br/&gt;Please do not add any new discussion to this archive page.&lt;br/&gt;All new discussion should go on [[Talk:{{BASEPAGENAME}}]].&lt;/div&gt;
----


== Buenas, ké tal (: ==
Buenas, como nativo hispanohablante, me gustaría ayudarles a corregir las sintaxis ortográficas. Es bueno que alguien haya pensado crear una página dedicada a la Xenarmonía en este idioma.

Saludos !!!'!!!!'

- '''Osmiorisbendi''' September 18, 2011, 02:31:40 PM UTC-0700
----
¡Gracias por la correcciones! No hablo español muy bien todavía, pero quiero hacer este información más disponible por las personas que habla español.

- '''Natebedell''' September 18, 2011, 06:40:06 PM UTC-0700
----</text>
      <sha1>pnkqx0mtxjcyshwjcltdystiyhdcrnq</sha1>
    </revision>
  </page>
  <page>
    <title>Discusión:Home</title>
    <ns>1</ns>
    <id>45</id>
    <redirect title="Discusión:Página principal" />
    <revision>
      <id>179</id>
      <timestamp>2018-10-01T00:37:24Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <comment>Mike Battaglia trasladó la página [[Discusión:Home]] a [[Discusión:Página principal]]</comment>
      <origin>179</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="46" sha1="gpmdj29vy5iltycxss2yuowdqik6irn" xml:space="preserve">#REDIRECCIÓN [[Discusión:Página principal]]</text>
      <sha1>gpmdj29vy5iltycxss2yuowdqik6irn</sha1>
    </revision>
  </page>
  <page>
    <title>Discusión:Home/WikispacesArchive</title>
    <ns>1</ns>
    <id>46</id>
    <redirect title="Discusión:Página principal/WikispacesArchive" />
    <revision>
      <id>181</id>
      <timestamp>2018-10-01T00:37:24Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <comment>Mike Battaglia trasladó la página [[Discusión:Home/WikispacesArchive]] a [[Discusión:Página principal/WikispacesArchive]]</comment>
      <origin>181</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="64" sha1="orpvcqkx9ej5yg8hbxwv90zq3w2y7nv" xml:space="preserve">#REDIRECCIÓN [[Discusión:Página principal/WikispacesArchive]]</text>
      <sha1>orpvcqkx9ej5yg8hbxwv90zq3w2y7nv</sha1>
    </revision>
  </page>
  <page>
    <title>Wiki Xenarmónico:ImportPages</title>
    <ns>4</ns>
    <id>47</id>
    <revision>
      <id>182</id>
      <timestamp>2018-10-01T18:56:23Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <comment>Página creada con «The following pages were imported from en.xen.wiki. Redirects should be created from those pages to here:  * [[1-EDO]] * [[Acorde_Lineal]] * [[Acordes]] * Acordes_isoarm…»</comment>
      <origin>182</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1216" sha1="nyoaxopcg68h626e7l931qj93l3teim" xml:space="preserve">The following pages were imported from en.xen.wiki. Redirects should be created from those pages to here:

* [[1-EDO]]
* [[Acorde_Lineal]]
* [[Acordes]]
* [[Acordes_isoarmónicos]]
* [[Anatomía_de_un_EDO]]
* [[Bienvenidos]]
* [[Centésimas]]
* [[Entonación_Justa]]
* [[Herramientas_Útiles]]
* [[Monzo(Esp)]]
* [[OrientacionGeneral]]
* [[Radio]]
* [[Relación_Diádica]]
* [[Teoría_Básica]]
* [[Teoría_Profunda

The following pages were already on es.xen.wiki, they should be integrated with the other ones:

* [[12 EDO]]
* [[16 EDO]]
* [[17 EDO]]
* [[19 EDO]]
* [[20 EDO]]
* [[23 EDO]]
* [[24 EDO]]
* [[25 EDO]]
* [[31 EDO]]
* [[55 EDO]]
* [[5 EDO]]
* [[6 EDO]]
* [[7 EDO]]
* [[Backups]]
* [[EDOs]]
* [[EDTs]]
* [[Escala Blackwood]]
* [[Home]]
* [[Introducción]]
* [[Migration FAQ]]
* [[Octava]]
* [[Página principal]]
* [[Space.menu]]
* [[Temperamento Circular]]
* [[Temperamento ircular]]
* [[Temperamento justo]]
* [[Temperamento regulares]]
* [[Teoría]]
* [[Wikispaces Wikitext Reference]]
* [[Xenarmónico]]

Also, should this be called "Xenarmonico" or "Xenarmonía"? You all decide...
[[Usuario:Mike Battaglia|Mike Battaglia]] ([[Usuario discusión:Mike Battaglia|discusión]]) 18:56 1 oct 2018 (UTC)</text>
      <sha1>nyoaxopcg68h626e7l931qj93l3teim</sha1>
    </revision>
    <revision>
      <id>183</id>
      <parentid>182</parentid>
      <timestamp>2018-10-01T18:56:32Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <origin>183</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1218" sha1="se4792359o8ct3fwu3oiyvvkvovh0kf" xml:space="preserve">The following pages were imported from en.xen.wiki. Redirects should be created from those pages to here:

* [[1-EDO]]
* [[Acorde_Lineal]]
* [[Acordes]]
* [[Acordes_isoarmónicos]]
* [[Anatomía_de_un_EDO]]
* [[Bienvenidos]]
* [[Centésimas]]
* [[Entonación_Justa]]
* [[Herramientas_Útiles]]
* [[Monzo(Esp)]]
* [[OrientacionGeneral]]
* [[Radio]]
* [[Relación_Diádica]]
* [[Teoría_Básica]]
* [[Teoría_Profunda]]

The following pages were already on es.xen.wiki, they should be integrated with the other ones:

* [[12 EDO]]
* [[16 EDO]]
* [[17 EDO]]
* [[19 EDO]]
* [[20 EDO]]
* [[23 EDO]]
* [[24 EDO]]
* [[25 EDO]]
* [[31 EDO]]
* [[55 EDO]]
* [[5 EDO]]
* [[6 EDO]]
* [[7 EDO]]
* [[Backups]]
* [[EDOs]]
* [[EDTs]]
* [[Escala Blackwood]]
* [[Home]]
* [[Introducción]]
* [[Migration FAQ]]
* [[Octava]]
* [[Página principal]]
* [[Space.menu]]
* [[Temperamento Circular]]
* [[Temperamento ircular]]
* [[Temperamento justo]]
* [[Temperamento regulares]]
* [[Teoría]]
* [[Wikispaces Wikitext Reference]]
* [[Xenarmónico]]

Also, should this be called "Xenarmonico" or "Xenarmonía"? You all decide...
[[Usuario:Mike Battaglia|Mike Battaglia]] ([[Usuario discusión:Mike Battaglia|discusión]]) 18:56 1 oct 2018 (UTC)</text>
      <sha1>se4792359o8ct3fwu3oiyvvkvovh0kf</sha1>
    </revision>
    <revision>
      <id>342</id>
      <parentid>183</parentid>
      <timestamp>2026-07-15T03:26:51Z</timestamp>
      <contributor>
        <username>Fredg999</username>
        <id>12</id>
      </contributor>
      <comment>Move and update migration progress table from the English wiki</comment>
      <origin>342</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2042" sha1="06h4zojygc9ly765qd4dhb2ofd7rf2m" xml:space="preserve">The following pages were imported from en.xen.wiki. Redirects should be created from those pages to here:

* [[1-EDO]]
* [[Acorde_Lineal]]
* [[Acordes]]
* [[Acordes_isoarmónicos]]
* [[Anatomía_de_un_EDO]]
* [[Bienvenidos]]
* [[Centésimas]]
* [[Entonación_Justa]]
* [[Herramientas_Útiles]]
* [[Monzo(Esp)]]
* [[OrientacionGeneral]]
* [[Radio]]
* [[Relación_Diádica]]
* [[Teoría_Básica]]
* [[Teoría_Profunda]]

The following pages were already on es.xen.wiki, they should be integrated with the other ones:

* [[12 EDO]]
* [[16 EDO]]
* [[17 EDO]]
* [[19 EDO]]
* [[20 EDO]]
* [[23 EDO]]
* [[24 EDO]]
* [[25 EDO]]
* [[31 EDO]]
* [[55 EDO]]
* [[5 EDO]]
* [[6 EDO]]
* [[7 EDO]]
* [[Backups]]
* [[EDOs]]
* [[EDTs]]
* [[Escala Blackwood]]
* [[Home]]
* [[Introducción]]
* [[Migration FAQ]]
* [[Octava]]
* [[Página principal]]
* [[Space.menu]]
* [[Temperamento Circular]]
* [[Temperamento ircular]]
* [[Temperamento justo]]
* [[Temperamento regulares]]
* [[Teoría]]
* [[Wikispaces Wikitext Reference]]
* [[Xenarmónico]]

Also, should this be called "Xenarmonico" or "Xenarmonía"? You all decide...
[[Usuario:Mike Battaglia|Mike Battaglia]] ([[Usuario discusión:Mike Battaglia|discusión]]) 18:56 1 oct 2018 (UTC)

== Migration progress ==
All corresponding pages were deleted from the English wiki. Interwiki links were added in replacement of hard redirects which were initially in place.
{| class="wikitable"
! Page
! Status: done / impact (information loss) due to EN-&gt;ES rebasing
|-
| [[1-EDO]] 
| done
|-
| [[Acorde_Lineal]]
| done
|-
| [[Acordes]]
| done
|-
| [[Acordes_isoarm%C3%B3nicos]]
| 4 red links
|-
| [[Anatom%C3%ADa_de_un_EDO]]
| done
|-
| [[Bienvenidos]]
| done
|-
| [[Cent%C3%A9simas]]
| done
|-
| [[Entonaci%C3%B3n_Justa]]
| done
|-
| [[Herramientas_%C3%9Atiles]]
| 4 red links
|-
| [[Monzo]]
| done
|-
| [[OrientacionGeneral]]
| 16 red links
|-
| [[Radio]]
| 2 red links
|-
| [[Relaci%C3%B3n_Di%C3%A1dica]]
| 51 red links
|-
| [[Teor%C3%ADa_B%C3%A1sica]]
| 37 red links
|-
| [[Teor%C3%ADa_Profunda]]
| 52 red links
|}</text>
      <sha1>06h4zojygc9ly765qd4dhb2ofd7rf2m</sha1>
    </revision>
    <revision>
      <id>347</id>
      <parentid>342</parentid>
      <timestamp>2026-07-15T04:37:38Z</timestamp>
      <contributor>
        <username>Fredg999</username>
        <id>12</id>
      </contributor>
      <minor/>
      <comment>Fredg999 trasladó la página [[ImportPages]] a [[Wiki Xenarmónico:ImportPages]]: Espacio de nombre del proyecto</comment>
      <origin>342</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2042" sha1="06h4zojygc9ly765qd4dhb2ofd7rf2m" xml:space="preserve">The following pages were imported from en.xen.wiki. Redirects should be created from those pages to here:

* [[1-EDO]]
* [[Acorde_Lineal]]
* [[Acordes]]
* [[Acordes_isoarmónicos]]
* [[Anatomía_de_un_EDO]]
* [[Bienvenidos]]
* [[Centésimas]]
* [[Entonación_Justa]]
* [[Herramientas_Útiles]]
* [[Monzo(Esp)]]
* [[OrientacionGeneral]]
* [[Radio]]
* [[Relación_Diádica]]
* [[Teoría_Básica]]
* [[Teoría_Profunda]]

The following pages were already on es.xen.wiki, they should be integrated with the other ones:

* [[12 EDO]]
* [[16 EDO]]
* [[17 EDO]]
* [[19 EDO]]
* [[20 EDO]]
* [[23 EDO]]
* [[24 EDO]]
* [[25 EDO]]
* [[31 EDO]]
* [[55 EDO]]
* [[5 EDO]]
* [[6 EDO]]
* [[7 EDO]]
* [[Backups]]
* [[EDOs]]
* [[EDTs]]
* [[Escala Blackwood]]
* [[Home]]
* [[Introducción]]
* [[Migration FAQ]]
* [[Octava]]
* [[Página principal]]
* [[Space.menu]]
* [[Temperamento Circular]]
* [[Temperamento ircular]]
* [[Temperamento justo]]
* [[Temperamento regulares]]
* [[Teoría]]
* [[Wikispaces Wikitext Reference]]
* [[Xenarmónico]]

Also, should this be called "Xenarmonico" or "Xenarmonía"? You all decide...
[[Usuario:Mike Battaglia|Mike Battaglia]] ([[Usuario discusión:Mike Battaglia|discusión]]) 18:56 1 oct 2018 (UTC)

== Migration progress ==
All corresponding pages were deleted from the English wiki. Interwiki links were added in replacement of hard redirects which were initially in place.
{| class="wikitable"
! Page
! Status: done / impact (information loss) due to EN-&gt;ES rebasing
|-
| [[1-EDO]] 
| done
|-
| [[Acorde_Lineal]]
| done
|-
| [[Acordes]]
| done
|-
| [[Acordes_isoarm%C3%B3nicos]]
| 4 red links
|-
| [[Anatom%C3%ADa_de_un_EDO]]
| done
|-
| [[Bienvenidos]]
| done
|-
| [[Cent%C3%A9simas]]
| done
|-
| [[Entonaci%C3%B3n_Justa]]
| done
|-
| [[Herramientas_%C3%9Atiles]]
| 4 red links
|-
| [[Monzo]]
| done
|-
| [[OrientacionGeneral]]
| 16 red links
|-
| [[Radio]]
| 2 red links
|-
| [[Relaci%C3%B3n_Di%C3%A1dica]]
| 51 red links
|-
| [[Teor%C3%ADa_B%C3%A1sica]]
| 37 red links
|-
| [[Teor%C3%ADa_Profunda]]
| 52 red links
|}</text>
      <sha1>06h4zojygc9ly765qd4dhb2ofd7rf2m</sha1>
    </revision>
  </page>
  <page>
    <title>1-EDO</title>
    <ns>0</ns>
    <id>48</id>
    <revision>
      <id>184</id>
      <timestamp>2018-09-30T19:12:15Z</timestamp>
      <contributor>
        <username>ImportFromEn&gt;PiotrGrochowski</username>
        <id>0</id>
      </contributor>
      <comment>it's not an English page, it was always Spanish and treating it like an English page will break the links on other Spanish pages on [[:en:]]</comment>
      <origin>184</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="22" sha1="ekedb87bzbdlwsy2bx93tepytuahm0r" xml:space="preserve">#redirect [[es:1-EDO]]</text>
      <sha1>ekedb87bzbdlwsy2bx93tepytuahm0r</sha1>
    </revision>
    <revision>
      <id>185</id>
      <parentid>184</parentid>
      <timestamp>2018-10-01T18:57:37Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
      <origin>185</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="22" sha1="ekedb87bzbdlwsy2bx93tepytuahm0r" xml:space="preserve">#redirect [[es:1-EDO]]</text>
      <sha1>ekedb87bzbdlwsy2bx93tepytuahm0r</sha1>
    </revision>
    <revision>
      <id>214</id>
      <parentid>185</parentid>
      <timestamp>2018-10-01T19:07:03Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <comment>Se eliminó la redirección hacia [[es:1-EDO]]</comment>
      <origin>214</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="64" sha1="h8o7qx8mmxbfk5xus617w21z07ue1ap" xml:space="preserve">&lt;nowiki&gt;Nothing here, used to be #redirect [[es:1-EDO]]&lt;/nowiki&gt;</text>
      <sha1>h8o7qx8mmxbfk5xus617w21z07ue1ap</sha1>
    </revision>
    <revision>
      <id>215</id>
      <parentid>214</parentid>
      <timestamp>2018-10-02T05:47:20Z</timestamp>
      <contributor>
        <username>PG's sock that dumps pages here</username>
        <id>5</id>
      </contributor>
      <comment>You caused a paradox... You tried to import the spanish pages here while 1-EDO was already moved, and you caused this.</comment>
      <origin>215</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="108" sha1="8app0erh28o5dfe0k8u42pu1b31pml3" xml:space="preserve">1-EDO es un temperamento trivial, que resulta de solo tomar un tono y octavas consecutivas.
[[Category:edo]]</text>
      <sha1>8app0erh28o5dfe0k8u42pu1b31pml3</sha1>
    </revision>
    <revision>
      <id>218</id>
      <parentid>215</parentid>
      <timestamp>2018-10-02T15:24:54Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>+interwiki</comment>
      <origin>218</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="147" sha1="7dru23odarqx6u4ff1doz65mlwftkpv" xml:space="preserve">1-EDO es un temperamento trivial, que resulta de solo tomar un tono y octavas consecutivas.

[[Category:edo]]

&lt;!-- interwiki links --&gt;
[[en:1edo]]</text>
      <sha1>7dru23odarqx6u4ff1doz65mlwftkpv</sha1>
    </revision>
    <revision>
      <id>307</id>
      <parentid>218</parentid>
      <timestamp>2018-12-28T00:13:17Z</timestamp>
      <contributor>
        <username>URL</username>
        <id>9</id>
      </contributor>
      <comment>Traducción de la página en inglés.</comment>
      <origin>307</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="721" sha1="rd8hliyjd83qlt33h2uynjm75rz6pmt" xml:space="preserve">Consistiendo en una nota repetida cada octava, este es un ejemplo de un [[temperamento trivial]].

La primera pieza de Musica ricercata de György Ligeti simula 1-EDO al tocar solo una nota en distintas octavas en el piano, aunque el piano en sí no está entonado a 1-EDO. La última nota de la pieza rompe el patrón.
==Enlaces==
*[https://en.wikipedia.org/wiki/Musica_ricercata#I._Sostenuto_%E2%80%93_Misurato_%E2%80%93_Prestissimo Musica ricercata - Wikipedia: ''I. Sostenuto – Misurato – Prestissimo'']
*[https://soundcloud.com/elizamccarthy/ligeti-musica-ricercata-i Ligeti - Musica ricercata: I. Sostenuto - Misurato - Prestissimo by Eliza McCarthy | Free Listening on SoundCloud]

[[Category:edo]]
[[en:1edo]]</text>
      <sha1>rd8hliyjd83qlt33h2uynjm75rz6pmt</sha1>
    </revision>
  </page>
  <page>
    <title>Acorde Lineal</title>
    <ns>0</ns>
    <id>49</id>
    <revision>
      <id>186</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
      </contributor>
      <origin>186</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="53054" sha1="kbixw054rb9h5kahxb2hp4xtv0nq2py" xml:space="preserve">Acordes lineales (también conocidos como Acordes de Batimento Proporcional) son una generalización de los acordes isoarmónicos, ampliados para incluir intervalos irracionales. Por lo tanto, por definición, todos los acordes justos son también acordes lineales. Además, acordes tales como (1):(1+π):(1+2π):(1+3π) se permiten bajo esta definición más amplia.

Consideremos un acorde de ''n''-notas. Hay n*(n-1)/2 posibles díadas entre cada una de las notas en el acorde. Para cada díada A:B, esta díada batirá en A-B Hertzios. Si todas las frecuencias dentro el acorde se pueden expresar en la forma de una ecuación lineal, y=mx+b, entonces eso significa que todas las frecuencias de batido se sincronizan entre sí porque están armónicamente relacionados. Un ejemplo es el acorde formada a partir de las notas de 400Hz, 500Hz y 700Hz, con frecuencias batido de 100 Hz, 200 Hz y 300 Hz. Por consiguiente, las frecuencias del batimento pueden escribirse como una relación de 1:2 entre las dos díadas más pequeñas. Llamamos a esta relación de la Relación de Radio Isoarmónico o Isoradio para abreviar.

La sincronización de las frecuencias de batido no siempre funciona con los acordes irracionales y timbres armónicos, debido a que las frecuencias de batido no lineales entre parciales superiores compiten con las fundamentales relacionadas linealmente. En consecuencia, la sincronización es más eficaz cuando el acorde puede ser bien-aproximado por relaciones de enteros pequeños, o cuando el timbre es débil (tal como una onda sinusoidal o triangular). O tal vez lo que buscamos no es sincronizar el batimento de todas las frecuencias dentro de un acorde, si no sincronizar los más notables con el fin de minimizar el batido caótico.

Utilizando el principio de batimento proporcional, es posible optimizar temperamentos regulares para tríadas específicas. Esto se hace mediante la creación de una ecuación algebraica que relaciona los intervalos del acorde a un generador y por otra parte la solución para el generador que produce tríadas de batido proporcional. Si queremos optimizar una triada 4:5:6 en el temperamento mesotónico, por ejemplo, queremos una relación de isoradio 1:1 entre la tercera mayor y tercera menor. La tercera menor puede ser expresada como ''g-g''^4/4, y la tercera mayor se puede escribir como ''g''^4/4-1. Por lo tanto tenemos que encontrar las raíces del polinomio ''g''^4-2''g''-2 (la diferencia entre los dos, simplificado para hacer todos los coeficientes números enteros). Esto se traduce en un generador de 1.49453, o alrededor de 695.63cents.

A continuación se muestra una lista de temperamentos y sus varias optimizaciones para los acordes de batimento proporcional. Ellos están clasificadas según más se expongan en el polinomio, con vínculos rotos por coeficientes principales, luego coeficientes de segundo término, los coeficientes tercer término, coeficientes de cuarto término ..., etc. En el caso de coeficientes negativos, se considera sólo el valor absoluto.

{| class="wikitable"
|-
| colspan="11" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Coeficientes de los Términos: &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
|-
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^10 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^9 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^8 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^7 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^6 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^5 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^4 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^3 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^2 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^1 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^0 &lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Acorde &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Isoradio &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Temperament&lt;/span&gt;&lt;/u&gt;&lt;/span&gt;

&lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt; correspondiente &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Generador (cents) &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;EDO(s) &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;|1,-2,1&amp;gt; &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;833.09 (phi) &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;36 &lt;/span&gt;&lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;2 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Father &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;428.42 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;14 &lt;/span&gt;&lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;3 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;6:7:9&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Beep &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;258.65 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;33, 42, 51 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mavila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;523.66 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;23, 39 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Meantone &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;695.63 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;19, 31, 50 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;2 &lt;/span&gt;&lt;/span&gt;
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Porcupine &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;160.89 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;15 &lt;/span&gt;&lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;12 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;5:6:9&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:3 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mavila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;674.90 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;16, 25 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Avila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;660.23 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;20 &lt;/span&gt;&lt;/span&gt;
| |
|-
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Hanson &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;317.96 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;19 &lt;/span&gt;&lt;/span&gt;
| |
|-
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Uncle &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;467.46 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;18 &lt;/span&gt;&lt;/span&gt;
| |
|-
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;3 &lt;/span&gt;&lt;/span&gt;
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-16 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:7&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mabila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;527.66 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;25 &lt;/span&gt;&lt;/span&gt;
| |
|-
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Tetracot &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;176.54 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;34 &lt;/span&gt;&lt;/span&gt;
| |
|-
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| |
| |
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Sensi &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;442.74 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;19, 65 &lt;/span&gt;
| |
|-
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;2 &lt;/span&gt;&lt;/span&gt;
| |
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-8 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Orson &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;271.51 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;22, 31, 53 &lt;/span&gt;
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Nota: En esencia el templado de acordes de relaciones diádicas no se puede optimizar para obtener batimento proporcional, ya que no se pueden definir de forma única en la serie armónica.

&lt;span style="display: block; height: 1px; left: 0px; overflow: hidden; position: absolute; top: 25px; width: 1px;"&gt;

Acordes lineales (también conocidos como Acordes de Batimento Proporcional) son una generalización de los acordes isoarmónicos, ampliados para incluir intervalos irracionales. Por lo tanto, por definición, todos los acordes justos son también acordes lineales. Además, acordes tales como (1):(1+π):(1+2π):(1+3π) se permiten bajo esta definición más amplia.

Consideremos un acorde de ''n''-notas. Hay n*(n-1)/2 posibles díadas entre cada una de las notas en el acorde. Para cada díada A:B, esta díada batirá en A-B Hertzios. Si todas las frecuencias dentro el acorde se pueden expresar en la forma de una ecuación lineal, y=mx+b, entonces eso significa que todas las frecuencias de batido se sincronizan entre sí porque están armónicamente relacionados. Un ejemplo es el acorde formada a partir de las notas de 400Hz, 500Hz y 700Hz, con frecuencias batido de 100 Hz, 200 Hz y 300 Hz. Por consiguiente, las frecuencias del batimento pueden escribirse como una relación de 1:2 entre las dos díadas más pequeñas. Llamamos a esta relación de la Relación de Radio Isoarmónico o Isoradio para abreviar.

La sincronización de las frecuencias de batido no siempre funciona con los acordes irracionales y timbres armónicos, debido a que las frecuencias de batido no lineales entre parciales superiores compiten con las fundamentales relacionadas linealmente. En consecuencia, la sincronización es más eficaz cuando el acorde puede ser bien-aproximado por relaciones de enteros pequeños, o cuando el timbre es débil (tal como una onda sinusoidal o triangular). O tal vez lo que buscamos no es sincronizar el batimento de todas las frecuencias dentro de un acorde, si no sincronizar los más notables con el fin de minimizar el batido caótico.

Utilizando el principio de batimento proporcional, es posible optimizar temperamentos regulares para tríadas específicas. Esto se hace mediante la creación de una ecuación algebraica que relaciona los intervalos del acorde a un generador y por otra parte la solución para el generador que produce tríadas de batido proporcional. Si queremos optimizar una triada 4:5:6 en el temperamento mesotónico, por ejemplo, queremos una relación de isoradio 1:1 entre la tercera mayor y tercera menor. La tercera menor puede ser expresada como ''g-g''^4/4, y la tercera mayor se puede escribir como ''g''^4/4-1. Por lo tanto tenemos que encontrar las raíces del polinomio ''g''^4-2''g''-2 (la diferencia entre los dos, simplificado para hacer todos los coeficientes números enteros). Esto se traduce en un generador de 1.49453, o alrededor de 695.63cents.

A continuación se muestra una lista de temperamentos y sus varias optimizaciones para los acordes de batimento proporcional. Ellos están clasificadas según más se expongan en el polinomio, con vínculos rotos por coeficientes principales, luego coeficientes de segundo término, los coeficientes tercer término, coeficientes de cuarto término ..., etc. En el caso de coeficientes negativos, se considera sólo el valor absoluto.

{| class="wikitable"
|-
| colspan="11" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Coeficientes de los Términos: &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
|-
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^10 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^9 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^8 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^7 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^6 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^5 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^4 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^3 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^2 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^1 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^0 &lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Acorde &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Isoradio &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Temperament&lt;/span&gt;&lt;/u&gt;&lt;/span&gt;

&lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt; correspondiente &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Generador (cents) &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;EDO(s) &lt;/span&gt;
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|-
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;|1,-2,1&amp;gt; &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;833.09 (phi) &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;36 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;2 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Father &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;428.42 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;14 &lt;/span&gt;
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|-
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;3 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:02 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Beep &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;258.65 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;33, 42, 51 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mavila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;523.66 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;23, 39 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Meantone &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;695.63 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;19, 31, 50 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;2 &lt;/span&gt;
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Porcupine &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;160.89 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;15 &lt;/span&gt;
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|-
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| |
| |
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;12 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:03 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mavila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;674.90 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;16, 25 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Avila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;660.23 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;20 &lt;/span&gt;
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|-
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
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| |
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Hanson &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;317.96 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;19 &lt;/span&gt;
| |
|-
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| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| |
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| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Uncle &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;467.46 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;18 &lt;/span&gt;
| |
|-
| |
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;3 &lt;/span&gt;
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| |
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| |
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| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-16 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:02 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mabila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;527.66 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;25 &lt;/span&gt;
| |
|-
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| |
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| |
| |
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Tetracot &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;176.54 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;34 &lt;/span&gt;
| |
|-
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| |
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| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Sensi &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;442.74 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;19, 65 &lt;/span&gt;
| |
|-
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;2 &lt;/span&gt;
| |
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-8 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Orson &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;271.51 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;22, 31, 53 &lt;/span&gt;
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Nota: En esencia el templado de acordes de relaciones diádicas no se puede optimizar para obtener batimento proporcional, ya que no se pueden definir de forma única en la serie armónica.

&lt;/span&gt;</text>
      <sha1>kbixw054rb9h5kahxb2hp4xtv0nq2py</sha1>
    </revision>
    <revision>
      <id>187</id>
      <parentid>186</parentid>
      <timestamp>2018-10-01T18:57:37Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
      <origin>187</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="53054" sha1="kbixw054rb9h5kahxb2hp4xtv0nq2py" xml:space="preserve">Acordes lineales (también conocidos como Acordes de Batimento Proporcional) son una generalización de los acordes isoarmónicos, ampliados para incluir intervalos irracionales. Por lo tanto, por definición, todos los acordes justos son también acordes lineales. Además, acordes tales como (1):(1+π):(1+2π):(1+3π) se permiten bajo esta definición más amplia.

Consideremos un acorde de ''n''-notas. Hay n*(n-1)/2 posibles díadas entre cada una de las notas en el acorde. Para cada díada A:B, esta díada batirá en A-B Hertzios. Si todas las frecuencias dentro el acorde se pueden expresar en la forma de una ecuación lineal, y=mx+b, entonces eso significa que todas las frecuencias de batido se sincronizan entre sí porque están armónicamente relacionados. Un ejemplo es el acorde formada a partir de las notas de 400Hz, 500Hz y 700Hz, con frecuencias batido de 100 Hz, 200 Hz y 300 Hz. Por consiguiente, las frecuencias del batimento pueden escribirse como una relación de 1:2 entre las dos díadas más pequeñas. Llamamos a esta relación de la Relación de Radio Isoarmónico o Isoradio para abreviar.

La sincronización de las frecuencias de batido no siempre funciona con los acordes irracionales y timbres armónicos, debido a que las frecuencias de batido no lineales entre parciales superiores compiten con las fundamentales relacionadas linealmente. En consecuencia, la sincronización es más eficaz cuando el acorde puede ser bien-aproximado por relaciones de enteros pequeños, o cuando el timbre es débil (tal como una onda sinusoidal o triangular). O tal vez lo que buscamos no es sincronizar el batimento de todas las frecuencias dentro de un acorde, si no sincronizar los más notables con el fin de minimizar el batido caótico.

Utilizando el principio de batimento proporcional, es posible optimizar temperamentos regulares para tríadas específicas. Esto se hace mediante la creación de una ecuación algebraica que relaciona los intervalos del acorde a un generador y por otra parte la solución para el generador que produce tríadas de batido proporcional. Si queremos optimizar una triada 4:5:6 en el temperamento mesotónico, por ejemplo, queremos una relación de isoradio 1:1 entre la tercera mayor y tercera menor. La tercera menor puede ser expresada como ''g-g''^4/4, y la tercera mayor se puede escribir como ''g''^4/4-1. Por lo tanto tenemos que encontrar las raíces del polinomio ''g''^4-2''g''-2 (la diferencia entre los dos, simplificado para hacer todos los coeficientes números enteros). Esto se traduce en un generador de 1.49453, o alrededor de 695.63cents.

A continuación se muestra una lista de temperamentos y sus varias optimizaciones para los acordes de batimento proporcional. Ellos están clasificadas según más se expongan en el polinomio, con vínculos rotos por coeficientes principales, luego coeficientes de segundo término, los coeficientes tercer término, coeficientes de cuarto término ..., etc. En el caso de coeficientes negativos, se considera sólo el valor absoluto.

{| class="wikitable"
|-
| colspan="11" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Coeficientes de los Términos: &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
|-
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^10 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^9 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^8 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^7 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^6 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^5 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^4 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^3 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^2 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^1 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^0 &lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Acorde &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Isoradio &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Temperament&lt;/span&gt;&lt;/u&gt;&lt;/span&gt;

&lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt; correspondiente &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Generador (cents) &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;EDO(s) &lt;/span&gt;
| |
|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;|1,-2,1&amp;gt; &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;833.09 (phi) &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;36 &lt;/span&gt;&lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;2 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Father &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;428.42 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;14 &lt;/span&gt;&lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;3 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;6:7:9&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Beep &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;258.65 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;33, 42, 51 &lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mavila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;523.66 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;23, 39 &lt;/span&gt;
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|-
| |
| |
| |
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| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Meantone &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;695.63 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;19, 31, 50 &lt;/span&gt;
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|-
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| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;2 &lt;/span&gt;&lt;/span&gt;
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Porcupine &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;160.89 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;15 &lt;/span&gt;&lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;12 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;5:6:9&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:3 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mavila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;674.90 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;16, 25 &lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Avila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;660.23 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;20 &lt;/span&gt;&lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Hanson &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;317.96 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;19 &lt;/span&gt;&lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Uncle &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;467.46 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;18 &lt;/span&gt;&lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;3 &lt;/span&gt;&lt;/span&gt;
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-16 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:7&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mabila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;527.66 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;25 &lt;/span&gt;&lt;/span&gt;
| |
|-
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Tetracot &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;176.54 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;34 &lt;/span&gt;&lt;/span&gt;
| |
|-
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| |
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| |
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| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Sensi &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;442.74 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;19, 65 &lt;/span&gt;
| |
|-
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
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| |
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| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;2 &lt;/span&gt;&lt;/span&gt;
| |
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-8 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Orson &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;271.51 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;22, 31, 53 &lt;/span&gt;
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Nota: En esencia el templado de acordes de relaciones diádicas no se puede optimizar para obtener batimento proporcional, ya que no se pueden definir de forma única en la serie armónica.

&lt;span style="display: block; height: 1px; left: 0px; overflow: hidden; position: absolute; top: 25px; width: 1px;"&gt;

Acordes lineales (también conocidos como Acordes de Batimento Proporcional) son una generalización de los acordes isoarmónicos, ampliados para incluir intervalos irracionales. Por lo tanto, por definición, todos los acordes justos son también acordes lineales. Además, acordes tales como (1):(1+π):(1+2π):(1+3π) se permiten bajo esta definición más amplia.

Consideremos un acorde de ''n''-notas. Hay n*(n-1)/2 posibles díadas entre cada una de las notas en el acorde. Para cada díada A:B, esta díada batirá en A-B Hertzios. Si todas las frecuencias dentro el acorde se pueden expresar en la forma de una ecuación lineal, y=mx+b, entonces eso significa que todas las frecuencias de batido se sincronizan entre sí porque están armónicamente relacionados. Un ejemplo es el acorde formada a partir de las notas de 400Hz, 500Hz y 700Hz, con frecuencias batido de 100 Hz, 200 Hz y 300 Hz. Por consiguiente, las frecuencias del batimento pueden escribirse como una relación de 1:2 entre las dos díadas más pequeñas. Llamamos a esta relación de la Relación de Radio Isoarmónico o Isoradio para abreviar.

La sincronización de las frecuencias de batido no siempre funciona con los acordes irracionales y timbres armónicos, debido a que las frecuencias de batido no lineales entre parciales superiores compiten con las fundamentales relacionadas linealmente. En consecuencia, la sincronización es más eficaz cuando el acorde puede ser bien-aproximado por relaciones de enteros pequeños, o cuando el timbre es débil (tal como una onda sinusoidal o triangular). O tal vez lo que buscamos no es sincronizar el batimento de todas las frecuencias dentro de un acorde, si no sincronizar los más notables con el fin de minimizar el batido caótico.

Utilizando el principio de batimento proporcional, es posible optimizar temperamentos regulares para tríadas específicas. Esto se hace mediante la creación de una ecuación algebraica que relaciona los intervalos del acorde a un generador y por otra parte la solución para el generador que produce tríadas de batido proporcional. Si queremos optimizar una triada 4:5:6 en el temperamento mesotónico, por ejemplo, queremos una relación de isoradio 1:1 entre la tercera mayor y tercera menor. La tercera menor puede ser expresada como ''g-g''^4/4, y la tercera mayor se puede escribir como ''g''^4/4-1. Por lo tanto tenemos que encontrar las raíces del polinomio ''g''^4-2''g''-2 (la diferencia entre los dos, simplificado para hacer todos los coeficientes números enteros). Esto se traduce en un generador de 1.49453, o alrededor de 695.63cents.

A continuación se muestra una lista de temperamentos y sus varias optimizaciones para los acordes de batimento proporcional. Ellos están clasificadas según más se expongan en el polinomio, con vínculos rotos por coeficientes principales, luego coeficientes de segundo término, los coeficientes tercer término, coeficientes de cuarto término ..., etc. En el caso de coeficientes negativos, se considera sólo el valor absoluto.

{| class="wikitable"
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| colspan="11" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Coeficientes de los Términos: &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
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| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^10 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^9 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^8 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^7 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^6 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^5 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^4 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^3 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^2 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^1 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^0 &lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Acorde &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Isoradio &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Temperament&lt;/span&gt;&lt;/u&gt;&lt;/span&gt;

&lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt; correspondiente &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Generador (cents) &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;EDO(s) &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;|1,-2,1&amp;gt; &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;833.09 (phi) &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;36 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;2 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Father &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;428.42 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;14 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;3 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
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| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:02 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Beep &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;258.65 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;33, 42, 51 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mavila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;523.66 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;23, 39 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Meantone &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;695.63 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;19, 31, 50 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;2 &lt;/span&gt;
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| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Porcupine &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;160.89 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;15 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
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| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;12 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:03 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mavila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;674.90 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;16, 25 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Avila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;660.23 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;20 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
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| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Hanson &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;317.96 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;19 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Uncle &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;467.46 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;18 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;3 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
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| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-16 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:02 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mabila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;527.66 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;25 &lt;/span&gt;
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|-
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
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| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
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| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Tetracot &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;176.54 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;34 &lt;/span&gt;
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|-
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
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| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Sensi &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;442.74 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;19, 65 &lt;/span&gt;
| |
|-
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
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| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;2 &lt;/span&gt;
| |
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-8 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Orson &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;271.51 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;22, 31, 53 &lt;/span&gt;
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Nota: En esencia el templado de acordes de relaciones diádicas no se puede optimizar para obtener batimento proporcional, ya que no se pueden definir de forma única en la serie armónica.

&lt;/span&gt;</text>
      <sha1>kbixw054rb9h5kahxb2hp4xtv0nq2py</sha1>
    </revision>
    <revision>
      <id>241</id>
      <parentid>187</parentid>
      <timestamp>2018-10-02T18:40:18Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>+interwiki:en</comment>
      <origin>241</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="53094" sha1="74tvlp6s0ro76ckszp0yurtohrsk9id" xml:space="preserve">Acordes lineales (también conocidos como Acordes de Batimento Proporcional) son una generalización de los acordes isoarmónicos, ampliados para incluir intervalos irracionales. Por lo tanto, por definición, todos los acordes justos son también acordes lineales. Además, acordes tales como (1):(1+π):(1+2π):(1+3π) se permiten bajo esta definición más amplia.

Consideremos un acorde de ''n''-notas. Hay n*(n-1)/2 posibles díadas entre cada una de las notas en el acorde. Para cada díada A:B, esta díada batirá en A-B Hertzios. Si todas las frecuencias dentro el acorde se pueden expresar en la forma de una ecuación lineal, y=mx+b, entonces eso significa que todas las frecuencias de batido se sincronizan entre sí porque están armónicamente relacionados. Un ejemplo es el acorde formada a partir de las notas de 400Hz, 500Hz y 700Hz, con frecuencias batido de 100 Hz, 200 Hz y 300 Hz. Por consiguiente, las frecuencias del batimento pueden escribirse como una relación de 1:2 entre las dos díadas más pequeñas. Llamamos a esta relación de la Relación de Radio Isoarmónico o Isoradio para abreviar.

La sincronización de las frecuencias de batido no siempre funciona con los acordes irracionales y timbres armónicos, debido a que las frecuencias de batido no lineales entre parciales superiores compiten con las fundamentales relacionadas linealmente. En consecuencia, la sincronización es más eficaz cuando el acorde puede ser bien-aproximado por relaciones de enteros pequeños, o cuando el timbre es débil (tal como una onda sinusoidal o triangular). O tal vez lo que buscamos no es sincronizar el batimento de todas las frecuencias dentro de un acorde, si no sincronizar los más notables con el fin de minimizar el batido caótico.

Utilizando el principio de batimento proporcional, es posible optimizar temperamentos regulares para tríadas específicas. Esto se hace mediante la creación de una ecuación algebraica que relaciona los intervalos del acorde a un generador y por otra parte la solución para el generador que produce tríadas de batido proporcional. Si queremos optimizar una triada 4:5:6 en el temperamento mesotónico, por ejemplo, queremos una relación de isoradio 1:1 entre la tercera mayor y tercera menor. La tercera menor puede ser expresada como ''g-g''^4/4, y la tercera mayor se puede escribir como ''g''^4/4-1. Por lo tanto tenemos que encontrar las raíces del polinomio ''g''^4-2''g''-2 (la diferencia entre los dos, simplificado para hacer todos los coeficientes números enteros). Esto se traduce en un generador de 1.49453, o alrededor de 695.63cents.

A continuación se muestra una lista de temperamentos y sus varias optimizaciones para los acordes de batimento proporcional. Ellos están clasificadas según más se expongan en el polinomio, con vínculos rotos por coeficientes principales, luego coeficientes de segundo término, los coeficientes tercer término, coeficientes de cuarto término ..., etc. En el caso de coeficientes negativos, se considera sólo el valor absoluto.

{| class="wikitable"
|-
| colspan="11" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Coeficientes de los Términos: &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
|-
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^10 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^9 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^8 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^7 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^6 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^5 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^4 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^3 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^2 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^1 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^0 &lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Acorde &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Isoradio &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Temperament&lt;/span&gt;&lt;/u&gt;&lt;/span&gt;

&lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt; correspondiente &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Generador (cents) &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;EDO(s) &lt;/span&gt;
| |
|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;|1,-2,1&amp;gt; &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;833.09 (phi) &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;36 &lt;/span&gt;&lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;2 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Father &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;428.42 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;14 &lt;/span&gt;&lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;3 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;6:7:9&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Beep &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;258.65 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;33, 42, 51 &lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mavila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;523.66 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;23, 39 &lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Meantone &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;695.63 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;19, 31, 50 &lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;2 &lt;/span&gt;&lt;/span&gt;
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Porcupine &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;160.89 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;15 &lt;/span&gt;&lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
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| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;12 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;5:6:9&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:3 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mavila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;674.90 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;16, 25 &lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Avila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;660.23 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;20 &lt;/span&gt;&lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
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| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Hanson &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;317.96 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;19 &lt;/span&gt;&lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
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| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Uncle &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;467.46 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;18 &lt;/span&gt;&lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;3 &lt;/span&gt;&lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| |
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| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-16 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:7&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:2 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mabila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;527.66 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;25 &lt;/span&gt;&lt;/span&gt;
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|-
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
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| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Tetracot &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;176.54 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;34 &lt;/span&gt;&lt;/span&gt;
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|-
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
| |
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-1 &lt;/span&gt;&lt;/span&gt;
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| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-4 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Sensi &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;442.74 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;19, 65 &lt;/span&gt;
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|-
| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1 &lt;/span&gt;&lt;/span&gt;
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| | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;2 &lt;/span&gt;&lt;/span&gt;
| |
| |
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;-8 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: center;"&gt;&lt;span style="display: block; text-align: start;"&gt;4:5:6&lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="display: block; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: right;"&gt;&lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; text-align: right;"&gt;1:1 &lt;/span&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Orson &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;271.51 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;22, 31, 53 &lt;/span&gt;
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Nota: En esencia el templado de acordes de relaciones diádicas no se puede optimizar para obtener batimento proporcional, ya que no se pueden definir de forma única en la serie armónica.

&lt;span style="display: block; height: 1px; left: 0px; overflow: hidden; position: absolute; top: 25px; width: 1px;"&gt;

Acordes lineales (también conocidos como Acordes de Batimento Proporcional) son una generalización de los acordes isoarmónicos, ampliados para incluir intervalos irracionales. Por lo tanto, por definición, todos los acordes justos son también acordes lineales. Además, acordes tales como (1):(1+π):(1+2π):(1+3π) se permiten bajo esta definición más amplia.

Consideremos un acorde de ''n''-notas. Hay n*(n-1)/2 posibles díadas entre cada una de las notas en el acorde. Para cada díada A:B, esta díada batirá en A-B Hertzios. Si todas las frecuencias dentro el acorde se pueden expresar en la forma de una ecuación lineal, y=mx+b, entonces eso significa que todas las frecuencias de batido se sincronizan entre sí porque están armónicamente relacionados. Un ejemplo es el acorde formada a partir de las notas de 400Hz, 500Hz y 700Hz, con frecuencias batido de 100 Hz, 200 Hz y 300 Hz. Por consiguiente, las frecuencias del batimento pueden escribirse como una relación de 1:2 entre las dos díadas más pequeñas. Llamamos a esta relación de la Relación de Radio Isoarmónico o Isoradio para abreviar.

La sincronización de las frecuencias de batido no siempre funciona con los acordes irracionales y timbres armónicos, debido a que las frecuencias de batido no lineales entre parciales superiores compiten con las fundamentales relacionadas linealmente. En consecuencia, la sincronización es más eficaz cuando el acorde puede ser bien-aproximado por relaciones de enteros pequeños, o cuando el timbre es débil (tal como una onda sinusoidal o triangular). O tal vez lo que buscamos no es sincronizar el batimento de todas las frecuencias dentro de un acorde, si no sincronizar los más notables con el fin de minimizar el batido caótico.

Utilizando el principio de batimento proporcional, es posible optimizar temperamentos regulares para tríadas específicas. Esto se hace mediante la creación de una ecuación algebraica que relaciona los intervalos del acorde a un generador y por otra parte la solución para el generador que produce tríadas de batido proporcional. Si queremos optimizar una triada 4:5:6 en el temperamento mesotónico, por ejemplo, queremos una relación de isoradio 1:1 entre la tercera mayor y tercera menor. La tercera menor puede ser expresada como ''g-g''^4/4, y la tercera mayor se puede escribir como ''g''^4/4-1. Por lo tanto tenemos que encontrar las raíces del polinomio ''g''^4-2''g''-2 (la diferencia entre los dos, simplificado para hacer todos los coeficientes números enteros). Esto se traduce en un generador de 1.49453, o alrededor de 695.63cents.

A continuación se muestra una lista de temperamentos y sus varias optimizaciones para los acordes de batimento proporcional. Ellos están clasificadas según más se expongan en el polinomio, con vínculos rotos por coeficientes principales, luego coeficientes de segundo término, los coeficientes tercer término, coeficientes de cuarto término ..., etc. En el caso de coeficientes negativos, se considera sólo el valor absoluto.

{| class="wikitable"
|-
| colspan="11" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Coeficientes de los Términos: &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
| colspan="2" |
|-
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^10 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^9 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^8 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^7 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^6 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^5 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^4 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^3 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^2 &lt;/span&gt;
| | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^1 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;g^0 &lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Acorde &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Isoradio &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Temperament&lt;/span&gt;&lt;/u&gt;&lt;/span&gt;

&lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt; correspondiente &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;"&gt;&lt;u&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 8pt;"&gt;Generador (cents) &lt;/span&gt;&lt;/u&gt;&lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;EDO(s) &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;|1,-2,1&amp;gt; &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;833.09 (phi) &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;36 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;2 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Father &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;428.42 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;14 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;3 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:02 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Beep &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;258.65 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;33, 42, 51 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mavila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;523.66 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;23, 39 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Meantone &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;695.63 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;19, 31, 50 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;2 &lt;/span&gt;
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Porcupine &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;160.89 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;15 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| |
| |
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;12 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:03 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mavila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;674.90 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;16, 25 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Avila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;660.23 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;20 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| |
| |
| |
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Hanson &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;317.96 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;19 &lt;/span&gt;
| |
|-
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-2 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Uncle &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;467.46 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;18 &lt;/span&gt;
| |
|-
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;3 &lt;/span&gt;
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| |
| |
| |
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-16 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:02 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Mabila &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;527.66 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;25 &lt;/span&gt;
| |
|-
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| |
| |
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Tetracot &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;176.54 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;34 &lt;/span&gt;
| |
|-
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-1 &lt;/span&gt;
| |
| |
| |
| |
| |
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-4 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Sensi &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;442.74 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;19, 65 &lt;/span&gt;
| |
|-
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;1 &lt;/span&gt;
| |
| |
| |
| |
| |
| |
| | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;2 &lt;/span&gt;
| |
| |
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;-8 &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: center;"&gt;##### &lt;/span&gt;
| colspan="2" | &lt;span style="display: block; font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm; text-align: right;"&gt;01:01 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;Orson &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;271.51 &lt;/span&gt;
| colspan="2" | &lt;span style="font-family: Arial,sans-serif; font-size: 8pt; line-height: normal; margin-bottom: 0cm;"&gt;22, 31, 53 &lt;/span&gt;
| |
|-
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
| |
|}
Nota: En esencia el templado de acordes de relaciones diádicas no se puede optimizar para obtener batimento proporcional, ya que no se pueden definir de forma única en la serie armónica.

&lt;/span&gt;

&lt;!-- interwiki --&gt;
[[en:Linear chord]]</text>
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  <page>
    <title>Acordes</title>
    <ns>0</ns>
    <id>50</id>
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      <id>188</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
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        <id>0</id>
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      <text bytes="1355" sha1="8dodoec4cgadvup8egxl6cf5j955ksd" xml:space="preserve">&lt;span style="background-color: #ffffff; color: #333333; display: block;"&gt;&lt;span style="display: block; text-align: center; vertical-align: middle;"&gt;Un acorde es una colección de notas con tonos bien definidos, sonando juntos, sea al mismo tiempo, o agrupados rítmicamente, como en la arpegiación. &lt;/span&gt;&lt;/span&gt;&lt;span style="background-color: #ffffff; display: block; font-size: 13.28px;"&gt;

=Tipos de acordes=
[[Relación_Diádica|Relaciones Diádicas en los Acordes]]&lt;/span&gt;&lt;span style="background-color: #ffffff; display: block; font-size: 13.28px;"&gt;[[acordes_isoarmónicos|Acordes Isoarmónicos]]&lt;/span&gt;&lt;span style="background-color: #ffffff; display: block; font-size: 13.28px;"&gt;[[Acorde_Lineal|Acorde Lineal]]&lt;/span&gt;&lt;span style="background-color: #ffffff; display: block; font-size: 13.28px;"&gt;

=Chord relationships=
[[Chordal_space|Chordal space]] (&lt;span style="color: #e30019; font-size: 13.28px;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="font-size: 13.28px;"&gt;)&lt;/span&gt;

[[The_Seven_Limit_Symmetrical_Lattices|The Seven Limit Symmetrical Lattices]] (&lt;span style="color: #e30019; font-size: 13.28px;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="font-size: 13.28px;"&gt;)&lt;/span&gt;

[[Harmonic_Lattice_Diagram|Harmonic Lattice Diagram]](&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;)

&lt;/span&gt;</text>
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    <revision>
      <id>189</id>
      <parentid>188</parentid>
      <timestamp>2018-10-01T18:57:37Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
      <origin>189</origin>
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      <text bytes="1355" sha1="8dodoec4cgadvup8egxl6cf5j955ksd" xml:space="preserve">&lt;span style="background-color: #ffffff; color: #333333; display: block;"&gt;&lt;span style="display: block; text-align: center; vertical-align: middle;"&gt;Un acorde es una colección de notas con tonos bien definidos, sonando juntos, sea al mismo tiempo, o agrupados rítmicamente, como en la arpegiación. &lt;/span&gt;&lt;/span&gt;&lt;span style="background-color: #ffffff; display: block; font-size: 13.28px;"&gt;

=Tipos de acordes=
[[Relación_Diádica|Relaciones Diádicas en los Acordes]]&lt;/span&gt;&lt;span style="background-color: #ffffff; display: block; font-size: 13.28px;"&gt;[[acordes_isoarmónicos|Acordes Isoarmónicos]]&lt;/span&gt;&lt;span style="background-color: #ffffff; display: block; font-size: 13.28px;"&gt;[[Acorde_Lineal|Acorde Lineal]]&lt;/span&gt;&lt;span style="background-color: #ffffff; display: block; font-size: 13.28px;"&gt;

=Chord relationships=
[[Chordal_space|Chordal space]] (&lt;span style="color: #e30019; font-size: 13.28px;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="font-size: 13.28px;"&gt;)&lt;/span&gt;

[[The_Seven_Limit_Symmetrical_Lattices|The Seven Limit Symmetrical Lattices]] (&lt;span style="color: #e30019; font-size: 13.28px;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="font-size: 13.28px;"&gt;)&lt;/span&gt;

[[Harmonic_Lattice_Diagram|Harmonic Lattice Diagram]](&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;)

&lt;/span&gt;</text>
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      <id>221</id>
      <parentid>189</parentid>
      <timestamp>2018-10-02T16:37:58Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>started translation</comment>
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      <text bytes="926" sha1="ky649n9xs1nua3ldg9upc8dxvejiz72" xml:space="preserve">&lt;span style="text-align: center;"&gt;Un acorde es una colección de notas con tonos bien definidos, sonando juntos, sea al mismo tiempo, o agrupados rítmicamente, como en la arpegiación. &lt;/span&gt;

== Tipos de acordes ==
* [[Relación_Diádica|Relaciones Diádicas en los Acordes]]
* [[acordes_isoarmónicos|Acordes Isoarmónicos]]
* [[Acorde_Lineal|Acorde Lineal]]

== Chord relationships ==
* [[Espacio cordal]] &lt;sup&gt;([[:en:Chordal space]])&lt;/sup&gt; (&lt;span style="color: #e30019; font-size: 13.28px;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="font-size: 13.28px;"&gt;)&lt;/span&gt;
* [[:en:The Seven Limit Symmetrical Lattices]] (&lt;span style="color: #e30019; font-size: 13.28px;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="font-size: 13.28px;"&gt;)&lt;/span&gt;
* [[:en:Harmonic_Lattice_Diagram]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;)

&lt;!-- interwiki links --&gt;
[[en:Chords]]</text>
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    <revision>
      <id>238</id>
      <parentid>221</parentid>
      <timestamp>2018-10-02T17:46:53Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>/* Chord relationships */ Chordal space -&gt; [[Espacio cordal]]</comment>
      <origin>238</origin>
      <model>wikitext</model>
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      <text bytes="786" sha1="3lhp2d2vsevpr6mk2qas7zzxwrwgw7s" xml:space="preserve">&lt;span style="text-align: center;"&gt;Un acorde es una colección de notas con tonos bien definidos, sonando juntos, sea al mismo tiempo, o agrupados rítmicamente, como en la arpegiación. &lt;/span&gt;

== Tipos de acordes ==
* [[Relación_Diádica|Relaciones Diádicas en los Acordes]]
* [[acordes_isoarmónicos|Acordes Isoarmónicos]]
* [[Acorde_Lineal|Acorde Lineal]]

== Chord relationships ==
* [[Espacio cordal]] &lt;sup&gt;([[:en:Chordal space]])&lt;/sup&gt;
* [[:en:The Seven Limit Symmetrical Lattices]] (&lt;span style="color: #e30019; font-size: 13.28px;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="font-size: 13.28px;"&gt;)&lt;/span&gt;
* [[:en:Harmonic_Lattice_Diagram]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;)

&lt;!-- interwiki links --&gt;
[[en:Chords]]</text>
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  <page>
    <title>Acordes isoarmónicos</title>
    <ns>0</ns>
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      <text bytes="4529" sha1="8ral50da7uwgthqo5zjg32e614ohxji" xml:space="preserve">= =

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;En la entonación justa, los acordes isoarmónicos son construidos por los sucesivos saltos de la [[OverToneSeries|serie armónica]] por algún número de pasos. Como la serie armónica está dispuesto de tal manera que cada escalón superior es más pequeño que el anterior, todos los acordes isoarmónicos tienen esta misma forma, con la disminución de tamaño de cada paso a medida que se asciende. Todos los acordes isoarmónicos son acordes cuyos Hertz tienen la misma distancia, lo que significa que las frecuencias de las notas están en una progresión aritmética con una diferencia igual en ciclos por segundo entre las notas sucesivas. Sin embargo, no todos los acordes de hercios iguales son acordes isoarmónicos, ya que las relaciones entre las notas no tienen que ser enteros. Un "acorde" isoarmónico puede funcionar más como una "escala" que como acorde (dependiendo de la composición, por supuesto), pero vamos a utilizar la palabra "acorde" en esta página para darle consistencia.&lt;/span&gt;

===&lt;span style="font-family: Arial,sans-serif; font-size: 13pt;"&gt;Primera Clase&lt;/span&gt;===
&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Los acordes isoarmónicos más simples se construyen mediante la acumulación de la serie armónica por pasos simples (pasos adyacentes en la serie armónica). Tomemos, por ejemplo, 4:5:6:7, el acorde de séptima armónica. Podemos llamar a estos acordes isoarmónicos de primera clase. Hay una serie de primera clase (la serie armónica), que se ve así:&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt; line-height: 0px; overflow: hidden;"&gt;[[File:isoarmonico_primera_clase.png|alt=isoarmonico primera clase.png|800x53px|isoarmonico primera clase.png]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Algunas "escalas" construidas de esta manera: [[otones12-24|otones12-24]] , [[otones20-40|otones20-40]] ...&lt;/span&gt;

===&lt;span style="font-family: Arial,sans-serif; font-size: 13pt;"&gt;Segunda Clase&lt;/span&gt;===
&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Los siguientes acordes isoarmónicos más simples se construyen mediante la acumulación de la serie armónica por dos (omitiendo cualquier otro armónico). Esto nos da acordes tales como 3:5:7:9 (la tétrada primaria en el sistema [[BP|Bohlen-Pierce]]) y 9:11:13:15. Tenga en cuenta que si se inicia en un número par, el acorde es equivalente a un acorde armónico de primera clase: 4:6:8:10 = 2:3:4:5. Por lo tanto, hay una sola serie de segunda clase (la serie de todos los armónicos impares):&lt;/span&gt;

[[File:isoarmonico_segunda_clase.png|alt=isoarmonico segunda clase.png|800x52px|isoarmonico segunda clase.png]]

===&lt;span style="font-family: Arial,sans-serif; font-size: 13pt;"&gt;Tercera Clase&lt;/span&gt;===
&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;La tercera clase de acordes isoarmónicos son menos comunes y con un sonido más complejo. Incluyen acordes tales como 7:10:13:16 y 14:17:20:23. Tenga en cuenta que si inicia en un número divisible por tres, de nuevo obtendrá un acorde reducible a la primera clase (por ejemplo, 9:12:15 = :4:5). Hay dos series de tercera clase:&lt;/span&gt;

[[File:isoarmonico_tercera_clase_01.png|alt=isoarmonico tercera clase 01.png|800x51px|isoarmonico tercera clase 01.png]]

[[File:isoarmonico_tercera_clase_02.png|alt=isoarmonico tercera clase 02.png|800x51px|isoarmonico tercera clase 02.png]]

===&lt;span style="font-family: Arial,sans-serif; font-size: 13pt;"&gt;Cuarta Clase&lt;/span&gt;===

===[[File:isoarmonico_cuarta_clase_01.png|alt=isoarmonico cuarta clase 01.png|800x51px|isoarmonico cuarta clase 01.png]]===

[[File:isoarmonico_cuarta_clase_02.png|alt=isoarmonico cuarta clase 02.png|800x50px|isoarmonico cuarta clase 02.png]]

===&lt;span style="font-family: Arial,sans-serif; font-size: 13pt;"&gt;Q&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;uinta Clase&lt;/span&gt;===
&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[File:isoarmonico_quinta_clase_01.png|alt=isoarmonico quinta clase 01.png|800x51px|isoarmonico quinta clase 01.png]]&lt;/span&gt;

[[File:isoarmonico_quinta_clase_02.png|alt=isoarmonico quinta clase 02.png|800x50px|isoarmonico quinta clase 02.png]]

[[File:isoarmonico_quinta_clase_03.png|alt=isoarmonico quinta clase 03.png|800x50px|isoarmonico quinta clase 03.png]]

[[File:isoarmonico_quinta_clase_04.png|alt=isoarmonico quinta clase 04.png|800x52px|isoarmonico quinta clase 04.png]]</text>
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    <revision>
      <id>191</id>
      <parentid>190</parentid>
      <timestamp>2018-10-01T18:57:39Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
      <origin>191</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="4529" sha1="8ral50da7uwgthqo5zjg32e614ohxji" xml:space="preserve">= =

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;En la entonación justa, los acordes isoarmónicos son construidos por los sucesivos saltos de la [[OverToneSeries|serie armónica]] por algún número de pasos. Como la serie armónica está dispuesto de tal manera que cada escalón superior es más pequeño que el anterior, todos los acordes isoarmónicos tienen esta misma forma, con la disminución de tamaño de cada paso a medida que se asciende. Todos los acordes isoarmónicos son acordes cuyos Hertz tienen la misma distancia, lo que significa que las frecuencias de las notas están en una progresión aritmética con una diferencia igual en ciclos por segundo entre las notas sucesivas. Sin embargo, no todos los acordes de hercios iguales son acordes isoarmónicos, ya que las relaciones entre las notas no tienen que ser enteros. Un "acorde" isoarmónico puede funcionar más como una "escala" que como acorde (dependiendo de la composición, por supuesto), pero vamos a utilizar la palabra "acorde" en esta página para darle consistencia.&lt;/span&gt;

===&lt;span style="font-family: Arial,sans-serif; font-size: 13pt;"&gt;Primera Clase&lt;/span&gt;===
&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Los acordes isoarmónicos más simples se construyen mediante la acumulación de la serie armónica por pasos simples (pasos adyacentes en la serie armónica). Tomemos, por ejemplo, 4:5:6:7, el acorde de séptima armónica. Podemos llamar a estos acordes isoarmónicos de primera clase. Hay una serie de primera clase (la serie armónica), que se ve así:&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt; line-height: 0px; overflow: hidden;"&gt;[[File:isoarmonico_primera_clase.png|alt=isoarmonico primera clase.png|800x53px|isoarmonico primera clase.png]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Algunas "escalas" construidas de esta manera: [[otones12-24|otones12-24]] , [[otones20-40|otones20-40]] ...&lt;/span&gt;

===&lt;span style="font-family: Arial,sans-serif; font-size: 13pt;"&gt;Segunda Clase&lt;/span&gt;===
&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Los siguientes acordes isoarmónicos más simples se construyen mediante la acumulación de la serie armónica por dos (omitiendo cualquier otro armónico). Esto nos da acordes tales como 3:5:7:9 (la tétrada primaria en el sistema [[BP|Bohlen-Pierce]]) y 9:11:13:15. Tenga en cuenta que si se inicia en un número par, el acorde es equivalente a un acorde armónico de primera clase: 4:6:8:10 = 2:3:4:5. Por lo tanto, hay una sola serie de segunda clase (la serie de todos los armónicos impares):&lt;/span&gt;

[[File:isoarmonico_segunda_clase.png|alt=isoarmonico segunda clase.png|800x52px|isoarmonico segunda clase.png]]

===&lt;span style="font-family: Arial,sans-serif; font-size: 13pt;"&gt;Tercera Clase&lt;/span&gt;===
&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;La tercera clase de acordes isoarmónicos son menos comunes y con un sonido más complejo. Incluyen acordes tales como 7:10:13:16 y 14:17:20:23. Tenga en cuenta que si inicia en un número divisible por tres, de nuevo obtendrá un acorde reducible a la primera clase (por ejemplo, 9:12:15 = :4:5). Hay dos series de tercera clase:&lt;/span&gt;

[[File:isoarmonico_tercera_clase_01.png|alt=isoarmonico tercera clase 01.png|800x51px|isoarmonico tercera clase 01.png]]

[[File:isoarmonico_tercera_clase_02.png|alt=isoarmonico tercera clase 02.png|800x51px|isoarmonico tercera clase 02.png]]

===&lt;span style="font-family: Arial,sans-serif; font-size: 13pt;"&gt;Cuarta Clase&lt;/span&gt;===

===[[File:isoarmonico_cuarta_clase_01.png|alt=isoarmonico cuarta clase 01.png|800x51px|isoarmonico cuarta clase 01.png]]===

[[File:isoarmonico_cuarta_clase_02.png|alt=isoarmonico cuarta clase 02.png|800x50px|isoarmonico cuarta clase 02.png]]

===&lt;span style="font-family: Arial,sans-serif; font-size: 13pt;"&gt;Q&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;uinta Clase&lt;/span&gt;===
&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[File:isoarmonico_quinta_clase_01.png|alt=isoarmonico quinta clase 01.png|800x51px|isoarmonico quinta clase 01.png]]&lt;/span&gt;

[[File:isoarmonico_quinta_clase_02.png|alt=isoarmonico quinta clase 02.png|800x50px|isoarmonico quinta clase 02.png]]

[[File:isoarmonico_quinta_clase_03.png|alt=isoarmonico quinta clase 03.png|800x50px|isoarmonico quinta clase 03.png]]

[[File:isoarmonico_quinta_clase_04.png|alt=isoarmonico quinta clase 04.png|800x52px|isoarmonico quinta clase 04.png]]</text>
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  <page>
    <title>Anatomía de un EDO</title>
    <ns>0</ns>
    <id>52</id>
    <revision>
      <id>192</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
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      <text bytes="15479" sha1="r0iplul7q13laaxnx8j2inpyulcyz5l" xml:space="preserve">=Anatomía de una división equitativa de la octava (ED2, EDO, por sus siglas en inglés)=

Esta tabla da una lista de fracciones entre cero y uno, con numeradores entre 1 y 60, en orden descendiente de su diferencia con 2/1, y sus valores de céntimos correspondientes.

{| class="wikitable"
|-
| | Cómo un exponente

&lt;math&gt;2^f&lt;/math&gt;
| colspan="2" | En [[Centésimas|céntimos]]
| | Cómo un exponente

&lt;math&gt;2^f&lt;/math&gt;
|-
| | 0\1
| | 0
| | 1200
| | 1\1
|-
| | 1\32
| | 37.5
| | 1162.5
| | 31\32
|-
| | 1\31
| | 38.7096
| | 1161.2904
| | 30\31
|-
| | 2\61
| | 39.3443
| | 1160.6557
| | 60\61
|-
| | 1\30
| | 40
| | 1160
| | 29\30
|-
| | 2\59
| | 40.678
| | 1159.322
| | 57\59
|-
| | 1\29
| | 41.3793
| | 1158.6207
| | 28\29
|-
| | 2\57
| | 42.1053
| | 1157.8947
| | 55\57
|-
| | 1\28
| | 42.8571
| | 1157.1429
| | 27\28
|-
| | 2\55
| | 43.&lt;u&gt;63&lt;/u&gt;
| | 1156.&lt;u&gt;36&lt;/u&gt;
| | 53\55
|-
| | 1\27
| | 44.&lt;u&gt;4&lt;/u&gt;
| | 1155.&lt;u&gt;5&lt;/u&gt;
| | 26\27
|-
| | 2\53
| | 45.283
| | 1054.717
| | 51\53
|-
| | 1\26
| | 46.15385
| | 1153.84615
| | 25\26
|-
| | 2\51
| | 47.0588
| | 1152.9412
| | 49\51
|-
| | 1\25
| | 48
| | 1152
| | 24\25
|-
| | 2\49
| | 48.9796
| | 1151.0204
| | 47\49
|-
| | 1\24
| | 50
| | 1150
| | 23\24
|-
| | 2\47
| | 51.0638
| | 1148.9562
| | 45\47
|-
| | 1\23
| | 52.1739
| | 1047.8261
| | 22\23
|-
| | 2\45
| | 53.&lt;u&gt;3&lt;/u&gt;
| | 1146.&lt;u&gt;6&lt;/u&gt;
| | 43\45
|-
| | 1\22
| | 54.&lt;u&gt;54&lt;/u&gt;
| | 1145.&lt;u&gt;45&lt;/u&gt;
| | 21\22
|-
| | 2\43
| | 55.81395
| | 1144.18605
| | 41\43
|-
| | 1\21
| | 57.1429
| | 1143.8571
| | 20\21
|-
| | 2\41
| | 58.5366
| | 1141.4634
| | 39\41
|-
| | 1\20
| | 60
| | 1140
| | 19\20
|-
| | 2\39
| | 61.5385
| | 1139.4615
| | 37\39
|-
| | 1\19
| | 63.1579
| | 1136.8421
| | 18\19
|-
| | 2\37
| | 64.&lt;u&gt;864&lt;/u&gt;
| | 1135.&lt;u&gt;135&lt;/u&gt;
| | 35\37
|-
| | 1\18
| | 66.&lt;u&gt;6&lt;/u&gt;
| | 1133.&lt;u&gt;3&lt;/u&gt;
| | 17\18
|-
| | 2\35
| | 68.5714
| | 1131.4286
| | 33\35
|-
| | 1\17
| | 70.5882
| | 1129.4118
| | 16\17
|-
| | 2\33
| | 72.&lt;u&gt;72&lt;/u&gt;
| | 1127.&lt;u&gt;27&lt;/u&gt;
| | 31\33
|-
| | 1\16
| | 75
| | 1125
| | 15\16
|-
| | 3\47
| | 76.5957
| | 1123.4043
| | 44\47
|-
| | 2\31
| | 77.41935
| | 1122.58065
| | 29\31
|-
| | 3\46
| | 78.2609
| | 1121.7391
| | 43\46
|-
| | 1\15
| | 80
| | 1120
| | 14\15
|-
| | 3\44
| | 81.&lt;u&gt;81&lt;/u&gt;
| | 1118.&lt;u&gt;18&lt;/u&gt;
| | 41\44
|-
| | 2\29
| | 82.759
| | 1117.241
| | 27\29
|-
| | 3\43
| | 83.7209
| | 1116.2791
| | 40\43
|-
| | 1\14
| | 85.7143
| | 1114.2857
| | 13\14
|-
| | 3\41
| | 87.8049
| | 1112.1951
| | 38\41
|-
| | 2\27
| | 88.&lt;u&gt;8&lt;/u&gt;
| | 1111.&lt;u&gt;1&lt;/u&gt;
| | 25\27
|-
| | 3\40
| | 90
| | 1110
| | 37\40
|-
| | 1\13
| | 92.3077
| | 1107.6923
| | 12\13
|-
| | 3\38
| | 94.7638
| | 1105.2362
| | 35\38
|-
| | 2\25
| | 96
| | 1104
| | 23\25
|-
| | 3\37
| | 97.&lt;u&gt;297&lt;/u&gt;
| | 1102.&lt;u&gt;702&lt;/u&gt;
| | 34\37
|-
| | 1\12
| | 100
| | 1100
| | 11\12
|-
| | 3\35
| | 102.8571
| | 1097.1429
| | 32\35
|-
| | 2\23
| | 104.3478
| | 1095.6522
| | 21\23
|-
| | 3\34
| | 105.88235
| | 1094.11765
| | 31\34
|-
| | 1\11
| | 109.&lt;u&gt;09&lt;/u&gt;
| | 1090.&lt;u&gt;90&lt;/u&gt;
| | 10\11
|-
| | 3\32
| | 112.5
| | 1087.5
| | 29\32
|-
| | 2\21
| | 114.2857
| | 1085.7129
| | 19\21
|-
| | 5\52
| | 115.3846
| | 1084.6154
| | 47\52
|-
| | 3\31
| | 116.129
| | 1083.871
| | 28\31
|-
| | 4\41
| | 117.0732
| | 1082.9268
| | 37\41
|-
| | 1\10
| | 120
| | 1080
| | 9\10
|-
| | 4\39
| | 123.0769
| | 1076.9231
| | 35\39
|-
| | 3\29
| | 124.1379
| | 1075.8621
| | 26\29
|-
| | 5\48
| | 125
| | 1075
| | 43\48
|-
| | 2\19
| | 126.3158
| | 1073.6842
| | 17\19
|-
| | 5\47
| | 127.6596
| | 1072.3404
| | 42\47
|-
| | 3\28
| | 128.5714
| | 1071.4286
| | 25\28
|-
| | 4\37
| | 129.&lt;u&gt;729&lt;/u&gt;
| | 1070.&lt;u&gt;270&lt;/u&gt;
| | 33\37
|-
| | 1\9
| | 133.&lt;u&gt;3&lt;/u&gt;
| | 1066.&lt;u&gt;6&lt;/u&gt;
| | 8\9
|-
| | 4\35
| | 137.1429
| | 1063.8571
| | 31\35
|-
| | 3\26
| | 138.4615
| | 1061.5385
| | 23\26
|-
| | 5\43
| | 139.5349
| | 1060.4651
| | 38\43
|-
| | 2\17
| | 141.1765
| | 1058.8235
| | 15\17
|-
| | 5\42
| | 142.8571
| | 1057.1429
| | 37\42
|-
| | 3\25
| | 144
| | 1056
| | 22\25
|-
| | 4\33
| | 145.&lt;u&gt;45&lt;/u&gt;
| | 1054.&lt;u&gt;54&lt;/u&gt;
| | 29\33
|-
| | 1\8
| | 150
| | 1050
| | 7\8
|-
| | 5\39
| | 153.84615
| | 1046.15385
| | 34\39
|-
| | 4\31
| | 154.8387
| | 1045.1613
| | 27\31
|-
| | 7\54
| | 155.&lt;u&gt;5&lt;/u&gt;
| | 1044.&lt;u&gt;4&lt;/u&gt;
| | 47\54
|-
| | 3\23
| | 156.5217
| | 1053.4783
| | 20\23
|-
| | 5\38
| | 157.8947
| | 1042.1053
| | 31\38
|-
| | 2\15
| | 160
| | 1040
| | 15\17
|-
| | 5\37
| | 162.&lt;u&gt;162&lt;/u&gt;
| | 1037.&lt;u&gt;837&lt;/u&gt;
| | 32\37
|-
| | 3\22
| | 163.&lt;u&gt;63&lt;/u&gt;
| | 1036.&lt;u&gt;36&lt;/u&gt;
| | 19\22
|-
| | 7\51
| | 164.7059
| | 1035.2941
| | 44\51
|-
| | 4\29
| | 165.5172
| | 1034.4822
| | 25\29
|-
| | 5\36
| | 166.&lt;u&gt;6&lt;/u&gt;
| | 1033.&lt;u&gt;3&lt;/u&gt;
| | 31\36
|-
| | 1\7
| | 171.4286
| | 1028.5714
| | 6\7
|-
| | 5\34
| | 176.4706
| | 1023.5294
| | 29\34
|-
| | 4\27
| | 177.&lt;u&gt;7&lt;/u&gt;
| | 1022.&lt;u&gt;2&lt;/u&gt;
| | 23\27
|-
| | 7\47
| | 178.7234
| | 1021.2766
| | 40\47
|-
| | 3\20
| | 180
| | 1020
| | 17\20
|-
| | 5\33
| | 181.&lt;u&gt;81&lt;/u&gt;
| | 1018.&lt;u&gt;18&lt;/u&gt;
| | 28\33
|-
| | 2\13
| | 184.6154
| | 1015.3846
| | 11\13
|-
| | 5\32
| | 187.5
| | 1012.5
| | 27\32
|-
| | 3\19
| | 189.4737
| | 1010.5263
| | 16\19
|-
| | 7\44
| | 190.&lt;u&gt;90&lt;/u&gt;
| | 1009.&lt;u&gt;09&lt;/u&gt;
| | 37\44
|-
| | 4\25
| | 192
| | 1008
| | 21\25
|-
| | 9\56
| | 192.8571
| | 1007.1429
| | 47\56
|-
| | 5\31
| | 193.5484
| | 1006.4516
| | 26\31
|-
| | 6\37
| | 194.&lt;u&gt;594&lt;/u&gt;
| | 1005.&lt;u&gt;405&lt;/u&gt;
| | 31\37
|-
| | 1\6
| | 200
| | 1000
| | 5\6
|-
| | 6\35
| | 205.7143
| | 994.2857
| | 29\35
|-
| | 5\29
| | 206.8966
| | 993.1034
| | 24\29
|-
| | 9\52
| | 207.6923
| | 992.3077
| | 43\52
|-
| | 4\23
| | 208.69565
| | 991.31435
| | 19\23
|-
| | 7\40
| | 210
| | 990
| | 33\40
|-
| | 3\17
| | 211.7647
| | 988.2353
| | 14\17
|-
| | 8\45
| | 213.&lt;u&gt;3&lt;/u&gt;
| | 986.&lt;u&gt;6&lt;/u&gt;
| | 37\45
|-
| | 5\28
| | 214.2857
| | 985.7143
| | 23\28
|-
| | 7\39
| | 215.3846
| | 984.6154
| | 32\39
|-
| | 2\11
| | 218.&lt;u&gt;18&lt;/u&gt;
| | 981.&lt;u&gt;81&lt;/u&gt;
| | 9\11
|-
| | 7\38
| | 221.0526
| | 978.9474
| | 31\38
|-
| | 5\27
| | 222.&lt;u&gt;2&lt;/u&gt;
| | 977.&lt;u&gt;7&lt;/u&gt;
| | 22\27
|-
| | 8\43
| | 223.2558
| | 976.7642
| | 35\43
|-
| | 3\16
| | 225
| | 975
| | 13\16
|-
| | 7\37
| | 227.&lt;u&gt;027&lt;/u&gt;
| | 972.&lt;u&gt;972&lt;/u&gt;
| | 30\37
|-
| | 4\21
| | 228.5714
| | 971.4286
| | 17\21
|-
| | 9\47
| | 229.7872
| | 970.2128
| | 38\47
|-
| | 5\26
| | 230.7692
| | 969.2308
| | 21\26
|-
| | 11\57
| | 231.57895
| | 968.42105
| | 46\57
|-
| | 6\31
| | 232.2581
| | 967.7419
| | 25\31
|-
| | 7\36
| | 233.&lt;u&gt;3&lt;/u&gt;
| | 966.&lt;u&gt;6&lt;/u&gt;
| | 29\36
|-
| | 1\5
| | 240
| | 960
| | 4\5
|-
| | 7\34
| | 247.0588
| | 952.9412
| | 27\34
|-
| | 6\29
| | 248.2759
| | 951.7241
| | 23\29
|-
| | 11\53
| | 249.0566
| | 950.9434
| | 42\53
|-
| | 5\24
| | 250
| | 950
| | 19\24
|-
| | 9\43
| | 251.1628
| | 948.8372
| | 34\43
|-
| | 4\19
| | 252.6316
| | 947.3884
| | 23\19
|-
| | 7\33
| | 254.&lt;u&gt;54&lt;/u&gt;
| | 945.&lt;u&gt;45&lt;/u&gt;
| | 26\33
|-
| | 3\14
| | 257.1428
| | 945.8571
| | 11\14
|-
| | 8\37
| | 259.&lt;u&gt;459&lt;/u&gt;
| | 940.&lt;u&gt;540&lt;/u&gt;
| | 29\37
|-
| | 5\23
| | 260.8696
| | 939.1304
| | 18\23
|-
| | 7\32
| | 262.5
| | 937.5
| | 25\32
|-
| | 2\9
| | 266.&lt;u&gt;6&lt;/u&gt;
| | 933.&lt;u&gt;3&lt;/u&gt;
| | 7\9
|-
| | 9\40
| | 270
| | 930
| | 31\40
|-
| | 7\31
| | 270.9677
| | 929.0323
| | 24\31
|-
| | 12\53
| | 271.6981
| | 928.3019
| | 41\53
|-
| | 5\22
| | 272.&lt;u&gt;72&lt;/u&gt;
| | 927.&lt;u&gt;27&lt;/u&gt;
| | 17\22
|-
| | 8\35
| | 274.2857
| | 925.7143
| | 27\35
|-
| | 3\13
| | 276.9231
| | 923.0769
| | 10\13
|-
| | 10\43
| | 279.0698
| | 920.9302
| | 33\43
|-
| | 7\30
| | 280
| | 920
| | 23\30
|-
| | 11\47
| | 280.8511
| | 919.1489
| | 36\47
|-
| | 4\17
| | 282.3529
| | 917.6471
| | 13\17
|-
| | 9\38
| | 284.2105
| | 915.7895
| | 29\38
|-
| | 5\21
| | 285.7143
| | 914.2857
| | 16\21
|-
| | 11\46
| | 286.9565
| | 913.0435
| | 35\46
|-
| | 6\25
| | 288
| | 912
| | 19\25
|-
| | 13\54
| | 288.&lt;u&gt;8&lt;/u&gt;
| | 911.&lt;u&gt;1&lt;/u&gt;
| | 41\54
|-
| | 7\29
| | 289.6552
| | 910.3448
| | 22\29
|-
| | 8\33
| | 290.&lt;u&gt;90&lt;/u&gt;
| | 909.&lt;u&gt;09&lt;/u&gt;
| | 25\33
|-
| | 1\4
| | 300
| | 900
| | 3\4
|-
| | 9\35
| | 308.5714
| | 891.4286
| | 26\35
|-
| | 8\31
| | 309.6774
| | 890.3226
| | 23\31
|-
| | 15\58
| | 310.3448
| | 889.6552
| | 43\58
|-
| | 7\27
| | 311.&lt;u&gt;1&lt;/u&gt;
| | 888.&lt;u&gt;8&lt;/u&gt;
| | 20\27
|-
| | 13\50
| | 312
| | 888
| | 37\50
|-
| | 6\23
| | 313.0435
| | 886.9565
| | 17\23
|-
| | 11\42
| | 314.2857
| | 885.7143
| | 31\42
|-
| | 5\19
| | 315.7895
| | 884.2105
| | 14\19
|-
| | 9\34
| | 317.6471
| | 882.3529
| | 25\34
|-
| | 4\15
| | 320
| | 880
| | 11\15
|-
| | 11\41
| | 321.9512
| | 878.0488
| | 30\41
|-
| | 7\26
| | 323.0769
| | 876.9231
| | 19\26
|-
| | 10\37
| | 324.&lt;u&gt;324&lt;/u&gt;
| | 875.&lt;u&gt;675&lt;/u&gt;
| | 27\37
|-
| | 3\11
| | 327.&lt;u&gt;27&lt;/u&gt;
| | 872.&lt;u&gt;72&lt;/u&gt;
| | 8\11
|-
| | 11\40
| | 330
| | 870
| | 29\40
|-
| | 8\29
| | 331.0345
| | 868.9655
| | 21\29
|-
| | 13\47
| | 331.9149
| | 868.0851
| | 34\47
|-
| | 5\18
| | 333.&lt;u&gt;3&lt;/u&gt;
| | 866.&lt;u&gt;6&lt;/u&gt;
| | 13\18
|-
| | 12\43
| | 334.8837
| | 865.1163
| | 31\43
|-
| | 7\25
| | 336
| | 864
| | 18\25
|-
| | 9\32
| | 337.5
| | 862.5
| | 23\32
|-
| | 2\7
| | 342.8571
| | 857.1429
| | 5\7
|-
| | 11\38
| | 347.3684
| | 852.6316
| | 27\38
|-
| | 9\31
| | 348.3871
| | 851.6129
| | 22\31
|-
| | 16\55
| | 349.&lt;u&gt;09&lt;/u&gt;
| | 850.&lt;u&gt;90&lt;/u&gt;
| | 39\55
|-
| | 7\24
| | 350
| | 850
| | 17\24
|-
| | 12\41
| | 351.2195
| | 849.7805
| | 29\41
|-
| | 5\17
| | 352.9412
| | 847.0588
| | 12\17
|-
| | 13\44
| | 354.&lt;u&gt;54&lt;/u&gt;
| | 845.&lt;u&gt;45&lt;/u&gt;
| | 31\44
|-
| | 8\27
| | 355.&lt;u&gt;5&lt;/u&gt;
| | 844.&lt;u&gt;4&lt;/u&gt;
| | 19\27
|-
| | 11\37
| | 356.&lt;u&gt;756&lt;/u&gt;
| | 843.&lt;u&gt;243&lt;/u&gt;
| | 26\37
|-
| | 3\10
| | 360
| | 840
| | 7\10
|-
| | 10\33
| | 363.&lt;u&gt;63&lt;/u&gt;
| | 836.&lt;u&gt;36&lt;/u&gt;
| | 23\33
|-
| | 7\23
| | 365.2174
| | 834.7826
| | 16\23
|-
| | 11\36
| | 366.&lt;u&gt;6&lt;/u&gt;
| | 833.&lt;u&gt;3&lt;/u&gt;
| | 25\36
|-
| | 4\13
| | 369.2308
| | 830.7692
| | 9\13
|-
| | 13\42
| | 371.4286
| | 828.5714
| | 29\42
|-
| | 9\29
| | 372.4138
| | 827.5862
| | 20\29
|-
| | 14\45
| | 373.&lt;u&gt;3&lt;/u&gt;
| | 826.&lt;u&gt;6&lt;/u&gt;
| | 31\45
|-
| | 5\16
| | 375
| | 825
| | 11\16
|-
| | 11\35
| | 377.1429
| | 822.8571
| | 24\35
|-
| | 6\19
| | 378.9474
| | 821.0526
| | 13\19
|-
| | 13\41
| | 380.4878
| | 819.5122
| | 28\41
|-
| | 7\22
| | 381.&lt;u&gt;81&lt;/u&gt;
| | 818.&lt;u&gt;18&lt;/u&gt;
| | 15\22
|-
| | 15\47
| | 382.9787
| | 817.0213
| | 32\47
|-
| | 8\25
| | 384
| | 816
| | 17\25
|-
| | 17\53
| | 384.9057
| | 815.0943
| | 36\53
|-
| | 9\28
| | 385.7143
| | 814.2857
| | 19\28
|-
| | 19\59
| | 386.4407
| | 813.5593
| | 40\59
|-
| | 10\31
| | 387.0968
| | 812.9032
| | 21\31
|-
| | 11\34
| | 388.2353
| | 811.7647
| | 23\34
|-
| | 1\3
| | 400
| | 800
| | 2\3
|-
| | 11\32
| | 412.5
| | 787.5
| | 21\32
|-
| | 10\29
| | 413.7931
| | 786.2069
| | 19\29
|-
| | 19\55
| | 414.&lt;u&gt;54&lt;/u&gt;
| | 785.&lt;u&gt;45&lt;/u&gt;
| | 36\55
|-
| | 9\26
| | 415.3846
| | 784.6144
| | 17\26
|-
| | 17\49
| | 416.3265
| | 783.6735
| | 32\49
|-
| | 8\23
| | 417.3913
| | 782.6087
| | 15\23
|-
| | 15\43
| | 418.60465
| | 781.39535
| | 28\43
|-
| | 7\20
| | 420
| | 780
| | 13\20
|-
| | 13\37
| | 421.&lt;u&gt;621&lt;/u&gt;
| | 778.&lt;u&gt;378&lt;/u&gt;
| | 24\37
|-
| | 6\17
| | 423.5294
| | 776.4706
| | 11\17
|-
| | 17\48
| | 425
| | 775
| | 31\48
|-
| | 11\31
| | 425.80645
| | 774.19355
| | 20\31
|-
| | 16\45
| | 426.&lt;u&gt;6&lt;/u&gt;
| | 773.&lt;u&gt;3&lt;/u&gt;
| | 29\45
|-
| | 5\14
| | 428.5714
| | 771.4286
| | 9\14
|-
| | 14\39
| | 430.7692
| | 769.2308
| | 25\39
|-
| | 9\25
| | 432
| | 768
| | 16\25
|-
| | 13\36
| | 433.&lt;u&gt;3&lt;/u&gt;
| | 566.&lt;u&gt;6&lt;/u&gt;
| | 23\36
|-
| | 4\11
| | 436.&lt;u&gt;36&lt;/u&gt;
| | 763.63
| | 7\11
|-
| | 15\41
| | 439.0234
| | 760.9766
| | 26\41
|-
| | 11\30
| | 440
| | 760
| | 19\30
|-
| | 18\49
| | 440.8163
| | 759.1827
| | 21\49
|-
| | 7\19
| | 442.1053
| | 757.8947
| | 12\19
|-
| | 17\46
| | 443.4783
| | 756.5217
| | 29\46
|-
| | 10\27
| | 444.&lt;u&gt;4&lt;/u&gt;
| | 755.&lt;u&gt;5&lt;/u&gt;
| | 17\27
|-
| | 13\35
| | 445.7143
| | 754.2857
| | 22\35
|-
| | 3\8
| | 450
| | 750
| | 5\8
|-
| | 14\37
| | 454.&lt;u&gt;054&lt;/u&gt;
| | 745.&lt;u&gt;945&lt;/u&gt;
| | 23\37
|-
| | 11\29
| | 455.1724
| | 744.8276
| | 18\29
|-
| | 19\50
| | 456
| | 744
| | 31\50
|-
| | 8\21
| | 457.1429
| | 742.8571
| | 13\21
|-
| | 13\34
| | 458.8235
| | 741.1765
| | 21\34
|-
| | 5\13
| | 461.5385
| | 738.4615
| | 8\13
|-
| | 17\44
| | 463.&lt;u&gt;63&lt;/u&gt;
| | 736.&lt;u&gt;36&lt;/u&gt;
| | 27\44
|-
| | 12\31
| | 464.516
| | 735.484
| | 19\31
|-
| | 19\49
| | 465.3061
| | 734.6939
| | 30\49
|-
| | 7\18
| | 466.&lt;u&gt;6&lt;/u&gt;
| | 733.&lt;u&gt;3&lt;/u&gt;
| | 11\18
|-
| | 16\41
| | 468.2927
| | 731.7073
| | 25\41
|-
| | 9\23
| | 469.5652
| | 730.4348
| | 14\23
|-
| | 20\51
| | 470.5882
| | 729.4118
| | 31\51
|-
| | 11\28
| | 471.4286
| | 728.5714
| | 17\28
|-
| | 13\33
| | 472.&lt;u&gt;72&lt;/u&gt;
| | 727.&lt;u&gt;27&lt;/u&gt;
| | 20\33
|-
| | 2\5
| | 480
| | 720
| | 3\5
|-
| | 13\32
| | 487.5
| | 712.5
| | 19\32
|-
| | 11\27
| | 488.&lt;u&gt;8&lt;/u&gt;
| | 711.&lt;u&gt;1&lt;/u&gt;
| | 16\27
|-
| | 20\49
| | 489.7959
| | 710.2041
| | 29\49
|-
| | 9\22
| | 490.&lt;u&gt;90&lt;/u&gt;
| | 709.&lt;u&gt;09&lt;/u&gt;
| | 13\22
|-
| | 16\39
| | 492.3077
| | 707.6923
| | 23\39
|-
| | 7\17
| | 494.11765
| | 705.88235
| | 10\17
|-
| | 19\46
| | 495.6522
| | 704.3478
| | 27\46
|-
| | 12\29
| | 496.5517
| | 703.4483
| | 17\29
|-
| | 17\41
| | 497.561
| | 702.439
| | 24\41
|-
| | 22\53
| | 498.1132
| | 701.8868
| | 31\53
|-
| | 5\12
| | 500
| | 700
| | 7\12
|-
| | 18\43
| | 502.3256
| | 697.6744
| | 25\43
|-
| | 13\31
| | 503.226
| | 696.7741
| | 18\31
|-
| | 21\50
| | 504
| | 696
| | 29\50
|-
| | 8\19
| | 505.2631
| | 694.7369
| | 11\19
|-
| | 19\45
| | 506.&lt;u&gt;6&lt;/u&gt;
| | 693.&lt;u&gt;3&lt;/u&gt;
| | 26\45
|-
| | 11\26
| | 507.6923
| | 692.3077
| | 15\26
|-
| | 14\33
| | 509.&lt;u&gt;09&lt;/u&gt;
| | 690.&lt;u&gt;90&lt;/u&gt;
| | 19\33
|-
| | 3\7
| | 514.2857
| | 685.7143
| | 4/7
|-
| | 16\37
| | 518.&lt;u&gt;918&lt;/u&gt;
| | 681.&lt;u&gt;081&lt;/u&gt;
| | 21/37
|-
| | 13\30
| | 520
| | 680
| | 17\30
|-
| | 23\53
| | 520.7547
| | 679.2453
| | 30\53
|-
| | 10\23
| | 521.7391
| | 678.2609
| | 13\23
|-
| | 17\39
| | 523.0769
| | 677.9231
| | 22\39
|-
| | 7\16
| | 525
| | 675
| | 9\16
|-
| | 18\41
| | 526.8293
| | 673.1707
| | 23\41
|-
| | 11\25
| | 528
| | 672
| | 14\25
|-
| | 15\34
| | 529.4118
| | 670.5882
| | 19\34
|-
| | 4\9
| | 533.&lt;u&gt;3&lt;/u&gt;
| | 666.6
| | 5\9
|-
| | 17\38
| | 536.8421
| | 663.1579
| | 21\38
|-
| | 13\29
| | 537.931
| | 662.069
| | 16\29
|-
| | 22\49
| | 538.7755
| | 661.2245
| | 27\49
|-
| | 9\20
| | 540
| | 660
| | 11\20
|-
| | 23\51
| | 541.1765
| | 658.8235
| | 28\51
|-
| | 14\31
| | 541.9355
| | 658.0645
| | 17\31
|-
| | 19\42
| | 542.8571
| | 657.1429
| | 23/42
|-
| | 5\11
| | 545.&lt;u&gt;45&lt;/u&gt;
| | 654.54
| | 6\11
|-
| | 16\35
| | 548.5714
| | 651.4286
| | 19\35
|-
| | 11\24
| | 550
| | 650
| | 13\24
|-
| | 17\37
| | 551.&lt;u&gt;351&lt;/u&gt;
| | 648.&lt;u&gt;648&lt;/u&gt;
| | 20\37
|-
| | 6\13
| | 553.84615
| | 646.15395
| | 7\13
|-
| | 19\41
| | 556.0976
| | 645.9224
| | 22\41
|-
| | 13\28
| | 557.1429
| | 642.8571
| | 15\28
|-
| | 20\43
| | 558.1395
| | 642.8605
| | 23\43
|-
| | 7\15
| | 560
| | 640
| | 8\15
|-
| | 15\32
| | 562.5
| | 637.5
| | 17\32
|-
| | 8\17
| | 564.7059
| | 635.2941
| | 9\17
|-
| | 17\36
| | 566.&lt;u&gt;6&lt;/u&gt;
| | 633.&lt;u&gt;3&lt;/u&gt;
| | 19\36
|-
| | 9\19
| | 568.42105
| | 631.57895
| | 10\19
|-
| | 19\40
| | 570
| | 630
| | 21\40
|-
| | 10\21
| | 571.4286
| | 628.5714
| | 11\21
|-
| | 21\44
| | 572.&lt;u&gt;72&lt;/u&gt;
| | 627.&lt;u&gt;27&lt;/u&gt;
| | 23\44
|-
| | 11\23
| | 573.913
| | 626.087
| | 12\23
|-
| | 23\48
| | 575
| | 625
| | 25\48
|-
| | 12\25
| | 576
| | 624
| | 13\25
|-
| | 25\52
| | 576.9231
| | 623.0769
| | 27\52
|-
| | 13\27
| | 577.&lt;u&gt;7&lt;/u&gt;
| | 622.&lt;u&gt;2&lt;/u&gt;
| | 14\27
|-
| | 27\56
| | 578.5714
| | 621.4286
| | 29\56
|-
| | 14\29
| | 579.31
| | 620.69
| | 15\29
|-
| | 29\60
| | 580
| | 620
| | 31\60
|-
| | 15\31
| | 580.6452
| | 619.355
| | 16\31
|-
| | 16\33
| | 581.&lt;u&gt;81&lt;/u&gt;
| | 618.&lt;u&gt;18&lt;/u&gt;
| | 17\33
|-
| | 1\2
| colspan="2" style="text-align:center;" | 600
| | 1\2
|}
[[Category:edo]]</text>
      <sha1>r0iplul7q13laaxnx8j2inpyulcyz5l</sha1>
    </revision>
    <revision>
      <id>193</id>
      <parentid>192</parentid>
      <timestamp>2018-10-01T18:57:39Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
      <origin>193</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="15479" sha1="r0iplul7q13laaxnx8j2inpyulcyz5l" xml:space="preserve">=Anatomía de una división equitativa de la octava (ED2, EDO, por sus siglas en inglés)=

Esta tabla da una lista de fracciones entre cero y uno, con numeradores entre 1 y 60, en orden descendiente de su diferencia con 2/1, y sus valores de céntimos correspondientes.

{| class="wikitable"
|-
| | Cómo un exponente

&lt;math&gt;2^f&lt;/math&gt;
| colspan="2" | En [[Centésimas|céntimos]]
| | Cómo un exponente

&lt;math&gt;2^f&lt;/math&gt;
|-
| | 0\1
| | 0
| | 1200
| | 1\1
|-
| | 1\32
| | 37.5
| | 1162.5
| | 31\32
|-
| | 1\31
| | 38.7096
| | 1161.2904
| | 30\31
|-
| | 2\61
| | 39.3443
| | 1160.6557
| | 60\61
|-
| | 1\30
| | 40
| | 1160
| | 29\30
|-
| | 2\59
| | 40.678
| | 1159.322
| | 57\59
|-
| | 1\29
| | 41.3793
| | 1158.6207
| | 28\29
|-
| | 2\57
| | 42.1053
| | 1157.8947
| | 55\57
|-
| | 1\28
| | 42.8571
| | 1157.1429
| | 27\28
|-
| | 2\55
| | 43.&lt;u&gt;63&lt;/u&gt;
| | 1156.&lt;u&gt;36&lt;/u&gt;
| | 53\55
|-
| | 1\27
| | 44.&lt;u&gt;4&lt;/u&gt;
| | 1155.&lt;u&gt;5&lt;/u&gt;
| | 26\27
|-
| | 2\53
| | 45.283
| | 1054.717
| | 51\53
|-
| | 1\26
| | 46.15385
| | 1153.84615
| | 25\26
|-
| | 2\51
| | 47.0588
| | 1152.9412
| | 49\51
|-
| | 1\25
| | 48
| | 1152
| | 24\25
|-
| | 2\49
| | 48.9796
| | 1151.0204
| | 47\49
|-
| | 1\24
| | 50
| | 1150
| | 23\24
|-
| | 2\47
| | 51.0638
| | 1148.9562
| | 45\47
|-
| | 1\23
| | 52.1739
| | 1047.8261
| | 22\23
|-
| | 2\45
| | 53.&lt;u&gt;3&lt;/u&gt;
| | 1146.&lt;u&gt;6&lt;/u&gt;
| | 43\45
|-
| | 1\22
| | 54.&lt;u&gt;54&lt;/u&gt;
| | 1145.&lt;u&gt;45&lt;/u&gt;
| | 21\22
|-
| | 2\43
| | 55.81395
| | 1144.18605
| | 41\43
|-
| | 1\21
| | 57.1429
| | 1143.8571
| | 20\21
|-
| | 2\41
| | 58.5366
| | 1141.4634
| | 39\41
|-
| | 1\20
| | 60
| | 1140
| | 19\20
|-
| | 2\39
| | 61.5385
| | 1139.4615
| | 37\39
|-
| | 1\19
| | 63.1579
| | 1136.8421
| | 18\19
|-
| | 2\37
| | 64.&lt;u&gt;864&lt;/u&gt;
| | 1135.&lt;u&gt;135&lt;/u&gt;
| | 35\37
|-
| | 1\18
| | 66.&lt;u&gt;6&lt;/u&gt;
| | 1133.&lt;u&gt;3&lt;/u&gt;
| | 17\18
|-
| | 2\35
| | 68.5714
| | 1131.4286
| | 33\35
|-
| | 1\17
| | 70.5882
| | 1129.4118
| | 16\17
|-
| | 2\33
| | 72.&lt;u&gt;72&lt;/u&gt;
| | 1127.&lt;u&gt;27&lt;/u&gt;
| | 31\33
|-
| | 1\16
| | 75
| | 1125
| | 15\16
|-
| | 3\47
| | 76.5957
| | 1123.4043
| | 44\47
|-
| | 2\31
| | 77.41935
| | 1122.58065
| | 29\31
|-
| | 3\46
| | 78.2609
| | 1121.7391
| | 43\46
|-
| | 1\15
| | 80
| | 1120
| | 14\15
|-
| | 3\44
| | 81.&lt;u&gt;81&lt;/u&gt;
| | 1118.&lt;u&gt;18&lt;/u&gt;
| | 41\44
|-
| | 2\29
| | 82.759
| | 1117.241
| | 27\29
|-
| | 3\43
| | 83.7209
| | 1116.2791
| | 40\43
|-
| | 1\14
| | 85.7143
| | 1114.2857
| | 13\14
|-
| | 3\41
| | 87.8049
| | 1112.1951
| | 38\41
|-
| | 2\27
| | 88.&lt;u&gt;8&lt;/u&gt;
| | 1111.&lt;u&gt;1&lt;/u&gt;
| | 25\27
|-
| | 3\40
| | 90
| | 1110
| | 37\40
|-
| | 1\13
| | 92.3077
| | 1107.6923
| | 12\13
|-
| | 3\38
| | 94.7638
| | 1105.2362
| | 35\38
|-
| | 2\25
| | 96
| | 1104
| | 23\25
|-
| | 3\37
| | 97.&lt;u&gt;297&lt;/u&gt;
| | 1102.&lt;u&gt;702&lt;/u&gt;
| | 34\37
|-
| | 1\12
| | 100
| | 1100
| | 11\12
|-
| | 3\35
| | 102.8571
| | 1097.1429
| | 32\35
|-
| | 2\23
| | 104.3478
| | 1095.6522
| | 21\23
|-
| | 3\34
| | 105.88235
| | 1094.11765
| | 31\34
|-
| | 1\11
| | 109.&lt;u&gt;09&lt;/u&gt;
| | 1090.&lt;u&gt;90&lt;/u&gt;
| | 10\11
|-
| | 3\32
| | 112.5
| | 1087.5
| | 29\32
|-
| | 2\21
| | 114.2857
| | 1085.7129
| | 19\21
|-
| | 5\52
| | 115.3846
| | 1084.6154
| | 47\52
|-
| | 3\31
| | 116.129
| | 1083.871
| | 28\31
|-
| | 4\41
| | 117.0732
| | 1082.9268
| | 37\41
|-
| | 1\10
| | 120
| | 1080
| | 9\10
|-
| | 4\39
| | 123.0769
| | 1076.9231
| | 35\39
|-
| | 3\29
| | 124.1379
| | 1075.8621
| | 26\29
|-
| | 5\48
| | 125
| | 1075
| | 43\48
|-
| | 2\19
| | 126.3158
| | 1073.6842
| | 17\19
|-
| | 5\47
| | 127.6596
| | 1072.3404
| | 42\47
|-
| | 3\28
| | 128.5714
| | 1071.4286
| | 25\28
|-
| | 4\37
| | 129.&lt;u&gt;729&lt;/u&gt;
| | 1070.&lt;u&gt;270&lt;/u&gt;
| | 33\37
|-
| | 1\9
| | 133.&lt;u&gt;3&lt;/u&gt;
| | 1066.&lt;u&gt;6&lt;/u&gt;
| | 8\9
|-
| | 4\35
| | 137.1429
| | 1063.8571
| | 31\35
|-
| | 3\26
| | 138.4615
| | 1061.5385
| | 23\26
|-
| | 5\43
| | 139.5349
| | 1060.4651
| | 38\43
|-
| | 2\17
| | 141.1765
| | 1058.8235
| | 15\17
|-
| | 5\42
| | 142.8571
| | 1057.1429
| | 37\42
|-
| | 3\25
| | 144
| | 1056
| | 22\25
|-
| | 4\33
| | 145.&lt;u&gt;45&lt;/u&gt;
| | 1054.&lt;u&gt;54&lt;/u&gt;
| | 29\33
|-
| | 1\8
| | 150
| | 1050
| | 7\8
|-
| | 5\39
| | 153.84615
| | 1046.15385
| | 34\39
|-
| | 4\31
| | 154.8387
| | 1045.1613
| | 27\31
|-
| | 7\54
| | 155.&lt;u&gt;5&lt;/u&gt;
| | 1044.&lt;u&gt;4&lt;/u&gt;
| | 47\54
|-
| | 3\23
| | 156.5217
| | 1053.4783
| | 20\23
|-
| | 5\38
| | 157.8947
| | 1042.1053
| | 31\38
|-
| | 2\15
| | 160
| | 1040
| | 15\17
|-
| | 5\37
| | 162.&lt;u&gt;162&lt;/u&gt;
| | 1037.&lt;u&gt;837&lt;/u&gt;
| | 32\37
|-
| | 3\22
| | 163.&lt;u&gt;63&lt;/u&gt;
| | 1036.&lt;u&gt;36&lt;/u&gt;
| | 19\22
|-
| | 7\51
| | 164.7059
| | 1035.2941
| | 44\51
|-
| | 4\29
| | 165.5172
| | 1034.4822
| | 25\29
|-
| | 5\36
| | 166.&lt;u&gt;6&lt;/u&gt;
| | 1033.&lt;u&gt;3&lt;/u&gt;
| | 31\36
|-
| | 1\7
| | 171.4286
| | 1028.5714
| | 6\7
|-
| | 5\34
| | 176.4706
| | 1023.5294
| | 29\34
|-
| | 4\27
| | 177.&lt;u&gt;7&lt;/u&gt;
| | 1022.&lt;u&gt;2&lt;/u&gt;
| | 23\27
|-
| | 7\47
| | 178.7234
| | 1021.2766
| | 40\47
|-
| | 3\20
| | 180
| | 1020
| | 17\20
|-
| | 5\33
| | 181.&lt;u&gt;81&lt;/u&gt;
| | 1018.&lt;u&gt;18&lt;/u&gt;
| | 28\33
|-
| | 2\13
| | 184.6154
| | 1015.3846
| | 11\13
|-
| | 5\32
| | 187.5
| | 1012.5
| | 27\32
|-
| | 3\19
| | 189.4737
| | 1010.5263
| | 16\19
|-
| | 7\44
| | 190.&lt;u&gt;90&lt;/u&gt;
| | 1009.&lt;u&gt;09&lt;/u&gt;
| | 37\44
|-
| | 4\25
| | 192
| | 1008
| | 21\25
|-
| | 9\56
| | 192.8571
| | 1007.1429
| | 47\56
|-
| | 5\31
| | 193.5484
| | 1006.4516
| | 26\31
|-
| | 6\37
| | 194.&lt;u&gt;594&lt;/u&gt;
| | 1005.&lt;u&gt;405&lt;/u&gt;
| | 31\37
|-
| | 1\6
| | 200
| | 1000
| | 5\6
|-
| | 6\35
| | 205.7143
| | 994.2857
| | 29\35
|-
| | 5\29
| | 206.8966
| | 993.1034
| | 24\29
|-
| | 9\52
| | 207.6923
| | 992.3077
| | 43\52
|-
| | 4\23
| | 208.69565
| | 991.31435
| | 19\23
|-
| | 7\40
| | 210
| | 990
| | 33\40
|-
| | 3\17
| | 211.7647
| | 988.2353
| | 14\17
|-
| | 8\45
| | 213.&lt;u&gt;3&lt;/u&gt;
| | 986.&lt;u&gt;6&lt;/u&gt;
| | 37\45
|-
| | 5\28
| | 214.2857
| | 985.7143
| | 23\28
|-
| | 7\39
| | 215.3846
| | 984.6154
| | 32\39
|-
| | 2\11
| | 218.&lt;u&gt;18&lt;/u&gt;
| | 981.&lt;u&gt;81&lt;/u&gt;
| | 9\11
|-
| | 7\38
| | 221.0526
| | 978.9474
| | 31\38
|-
| | 5\27
| | 222.&lt;u&gt;2&lt;/u&gt;
| | 977.&lt;u&gt;7&lt;/u&gt;
| | 22\27
|-
| | 8\43
| | 223.2558
| | 976.7642
| | 35\43
|-
| | 3\16
| | 225
| | 975
| | 13\16
|-
| | 7\37
| | 227.&lt;u&gt;027&lt;/u&gt;
| | 972.&lt;u&gt;972&lt;/u&gt;
| | 30\37
|-
| | 4\21
| | 228.5714
| | 971.4286
| | 17\21
|-
| | 9\47
| | 229.7872
| | 970.2128
| | 38\47
|-
| | 5\26
| | 230.7692
| | 969.2308
| | 21\26
|-
| | 11\57
| | 231.57895
| | 968.42105
| | 46\57
|-
| | 6\31
| | 232.2581
| | 967.7419
| | 25\31
|-
| | 7\36
| | 233.&lt;u&gt;3&lt;/u&gt;
| | 966.&lt;u&gt;6&lt;/u&gt;
| | 29\36
|-
| | 1\5
| | 240
| | 960
| | 4\5
|-
| | 7\34
| | 247.0588
| | 952.9412
| | 27\34
|-
| | 6\29
| | 248.2759
| | 951.7241
| | 23\29
|-
| | 11\53
| | 249.0566
| | 950.9434
| | 42\53
|-
| | 5\24
| | 250
| | 950
| | 19\24
|-
| | 9\43
| | 251.1628
| | 948.8372
| | 34\43
|-
| | 4\19
| | 252.6316
| | 947.3884
| | 23\19
|-
| | 7\33
| | 254.&lt;u&gt;54&lt;/u&gt;
| | 945.&lt;u&gt;45&lt;/u&gt;
| | 26\33
|-
| | 3\14
| | 257.1428
| | 945.8571
| | 11\14
|-
| | 8\37
| | 259.&lt;u&gt;459&lt;/u&gt;
| | 940.&lt;u&gt;540&lt;/u&gt;
| | 29\37
|-
| | 5\23
| | 260.8696
| | 939.1304
| | 18\23
|-
| | 7\32
| | 262.5
| | 937.5
| | 25\32
|-
| | 2\9
| | 266.&lt;u&gt;6&lt;/u&gt;
| | 933.&lt;u&gt;3&lt;/u&gt;
| | 7\9
|-
| | 9\40
| | 270
| | 930
| | 31\40
|-
| | 7\31
| | 270.9677
| | 929.0323
| | 24\31
|-
| | 12\53
| | 271.6981
| | 928.3019
| | 41\53
|-
| | 5\22
| | 272.&lt;u&gt;72&lt;/u&gt;
| | 927.&lt;u&gt;27&lt;/u&gt;
| | 17\22
|-
| | 8\35
| | 274.2857
| | 925.7143
| | 27\35
|-
| | 3\13
| | 276.9231
| | 923.0769
| | 10\13
|-
| | 10\43
| | 279.0698
| | 920.9302
| | 33\43
|-
| | 7\30
| | 280
| | 920
| | 23\30
|-
| | 11\47
| | 280.8511
| | 919.1489
| | 36\47
|-
| | 4\17
| | 282.3529
| | 917.6471
| | 13\17
|-
| | 9\38
| | 284.2105
| | 915.7895
| | 29\38
|-
| | 5\21
| | 285.7143
| | 914.2857
| | 16\21
|-
| | 11\46
| | 286.9565
| | 913.0435
| | 35\46
|-
| | 6\25
| | 288
| | 912
| | 19\25
|-
| | 13\54
| | 288.&lt;u&gt;8&lt;/u&gt;
| | 911.&lt;u&gt;1&lt;/u&gt;
| | 41\54
|-
| | 7\29
| | 289.6552
| | 910.3448
| | 22\29
|-
| | 8\33
| | 290.&lt;u&gt;90&lt;/u&gt;
| | 909.&lt;u&gt;09&lt;/u&gt;
| | 25\33
|-
| | 1\4
| | 300
| | 900
| | 3\4
|-
| | 9\35
| | 308.5714
| | 891.4286
| | 26\35
|-
| | 8\31
| | 309.6774
| | 890.3226
| | 23\31
|-
| | 15\58
| | 310.3448
| | 889.6552
| | 43\58
|-
| | 7\27
| | 311.&lt;u&gt;1&lt;/u&gt;
| | 888.&lt;u&gt;8&lt;/u&gt;
| | 20\27
|-
| | 13\50
| | 312
| | 888
| | 37\50
|-
| | 6\23
| | 313.0435
| | 886.9565
| | 17\23
|-
| | 11\42
| | 314.2857
| | 885.7143
| | 31\42
|-
| | 5\19
| | 315.7895
| | 884.2105
| | 14\19
|-
| | 9\34
| | 317.6471
| | 882.3529
| | 25\34
|-
| | 4\15
| | 320
| | 880
| | 11\15
|-
| | 11\41
| | 321.9512
| | 878.0488
| | 30\41
|-
| | 7\26
| | 323.0769
| | 876.9231
| | 19\26
|-
| | 10\37
| | 324.&lt;u&gt;324&lt;/u&gt;
| | 875.&lt;u&gt;675&lt;/u&gt;
| | 27\37
|-
| | 3\11
| | 327.&lt;u&gt;27&lt;/u&gt;
| | 872.&lt;u&gt;72&lt;/u&gt;
| | 8\11
|-
| | 11\40
| | 330
| | 870
| | 29\40
|-
| | 8\29
| | 331.0345
| | 868.9655
| | 21\29
|-
| | 13\47
| | 331.9149
| | 868.0851
| | 34\47
|-
| | 5\18
| | 333.&lt;u&gt;3&lt;/u&gt;
| | 866.&lt;u&gt;6&lt;/u&gt;
| | 13\18
|-
| | 12\43
| | 334.8837
| | 865.1163
| | 31\43
|-
| | 7\25
| | 336
| | 864
| | 18\25
|-
| | 9\32
| | 337.5
| | 862.5
| | 23\32
|-
| | 2\7
| | 342.8571
| | 857.1429
| | 5\7
|-
| | 11\38
| | 347.3684
| | 852.6316
| | 27\38
|-
| | 9\31
| | 348.3871
| | 851.6129
| | 22\31
|-
| | 16\55
| | 349.&lt;u&gt;09&lt;/u&gt;
| | 850.&lt;u&gt;90&lt;/u&gt;
| | 39\55
|-
| | 7\24
| | 350
| | 850
| | 17\24
|-
| | 12\41
| | 351.2195
| | 849.7805
| | 29\41
|-
| | 5\17
| | 352.9412
| | 847.0588
| | 12\17
|-
| | 13\44
| | 354.&lt;u&gt;54&lt;/u&gt;
| | 845.&lt;u&gt;45&lt;/u&gt;
| | 31\44
|-
| | 8\27
| | 355.&lt;u&gt;5&lt;/u&gt;
| | 844.&lt;u&gt;4&lt;/u&gt;
| | 19\27
|-
| | 11\37
| | 356.&lt;u&gt;756&lt;/u&gt;
| | 843.&lt;u&gt;243&lt;/u&gt;
| | 26\37
|-
| | 3\10
| | 360
| | 840
| | 7\10
|-
| | 10\33
| | 363.&lt;u&gt;63&lt;/u&gt;
| | 836.&lt;u&gt;36&lt;/u&gt;
| | 23\33
|-
| | 7\23
| | 365.2174
| | 834.7826
| | 16\23
|-
| | 11\36
| | 366.&lt;u&gt;6&lt;/u&gt;
| | 833.&lt;u&gt;3&lt;/u&gt;
| | 25\36
|-
| | 4\13
| | 369.2308
| | 830.7692
| | 9\13
|-
| | 13\42
| | 371.4286
| | 828.5714
| | 29\42
|-
| | 9\29
| | 372.4138
| | 827.5862
| | 20\29
|-
| | 14\45
| | 373.&lt;u&gt;3&lt;/u&gt;
| | 826.&lt;u&gt;6&lt;/u&gt;
| | 31\45
|-
| | 5\16
| | 375
| | 825
| | 11\16
|-
| | 11\35
| | 377.1429
| | 822.8571
| | 24\35
|-
| | 6\19
| | 378.9474
| | 821.0526
| | 13\19
|-
| | 13\41
| | 380.4878
| | 819.5122
| | 28\41
|-
| | 7\22
| | 381.&lt;u&gt;81&lt;/u&gt;
| | 818.&lt;u&gt;18&lt;/u&gt;
| | 15\22
|-
| | 15\47
| | 382.9787
| | 817.0213
| | 32\47
|-
| | 8\25
| | 384
| | 816
| | 17\25
|-
| | 17\53
| | 384.9057
| | 815.0943
| | 36\53
|-
| | 9\28
| | 385.7143
| | 814.2857
| | 19\28
|-
| | 19\59
| | 386.4407
| | 813.5593
| | 40\59
|-
| | 10\31
| | 387.0968
| | 812.9032
| | 21\31
|-
| | 11\34
| | 388.2353
| | 811.7647
| | 23\34
|-
| | 1\3
| | 400
| | 800
| | 2\3
|-
| | 11\32
| | 412.5
| | 787.5
| | 21\32
|-
| | 10\29
| | 413.7931
| | 786.2069
| | 19\29
|-
| | 19\55
| | 414.&lt;u&gt;54&lt;/u&gt;
| | 785.&lt;u&gt;45&lt;/u&gt;
| | 36\55
|-
| | 9\26
| | 415.3846
| | 784.6144
| | 17\26
|-
| | 17\49
| | 416.3265
| | 783.6735
| | 32\49
|-
| | 8\23
| | 417.3913
| | 782.6087
| | 15\23
|-
| | 15\43
| | 418.60465
| | 781.39535
| | 28\43
|-
| | 7\20
| | 420
| | 780
| | 13\20
|-
| | 13\37
| | 421.&lt;u&gt;621&lt;/u&gt;
| | 778.&lt;u&gt;378&lt;/u&gt;
| | 24\37
|-
| | 6\17
| | 423.5294
| | 776.4706
| | 11\17
|-
| | 17\48
| | 425
| | 775
| | 31\48
|-
| | 11\31
| | 425.80645
| | 774.19355
| | 20\31
|-
| | 16\45
| | 426.&lt;u&gt;6&lt;/u&gt;
| | 773.&lt;u&gt;3&lt;/u&gt;
| | 29\45
|-
| | 5\14
| | 428.5714
| | 771.4286
| | 9\14
|-
| | 14\39
| | 430.7692
| | 769.2308
| | 25\39
|-
| | 9\25
| | 432
| | 768
| | 16\25
|-
| | 13\36
| | 433.&lt;u&gt;3&lt;/u&gt;
| | 566.&lt;u&gt;6&lt;/u&gt;
| | 23\36
|-
| | 4\11
| | 436.&lt;u&gt;36&lt;/u&gt;
| | 763.63
| | 7\11
|-
| | 15\41
| | 439.0234
| | 760.9766
| | 26\41
|-
| | 11\30
| | 440
| | 760
| | 19\30
|-
| | 18\49
| | 440.8163
| | 759.1827
| | 21\49
|-
| | 7\19
| | 442.1053
| | 757.8947
| | 12\19
|-
| | 17\46
| | 443.4783
| | 756.5217
| | 29\46
|-
| | 10\27
| | 444.&lt;u&gt;4&lt;/u&gt;
| | 755.&lt;u&gt;5&lt;/u&gt;
| | 17\27
|-
| | 13\35
| | 445.7143
| | 754.2857
| | 22\35
|-
| | 3\8
| | 450
| | 750
| | 5\8
|-
| | 14\37
| | 454.&lt;u&gt;054&lt;/u&gt;
| | 745.&lt;u&gt;945&lt;/u&gt;
| | 23\37
|-
| | 11\29
| | 455.1724
| | 744.8276
| | 18\29
|-
| | 19\50
| | 456
| | 744
| | 31\50
|-
| | 8\21
| | 457.1429
| | 742.8571
| | 13\21
|-
| | 13\34
| | 458.8235
| | 741.1765
| | 21\34
|-
| | 5\13
| | 461.5385
| | 738.4615
| | 8\13
|-
| | 17\44
| | 463.&lt;u&gt;63&lt;/u&gt;
| | 736.&lt;u&gt;36&lt;/u&gt;
| | 27\44
|-
| | 12\31
| | 464.516
| | 735.484
| | 19\31
|-
| | 19\49
| | 465.3061
| | 734.6939
| | 30\49
|-
| | 7\18
| | 466.&lt;u&gt;6&lt;/u&gt;
| | 733.&lt;u&gt;3&lt;/u&gt;
| | 11\18
|-
| | 16\41
| | 468.2927
| | 731.7073
| | 25\41
|-
| | 9\23
| | 469.5652
| | 730.4348
| | 14\23
|-
| | 20\51
| | 470.5882
| | 729.4118
| | 31\51
|-
| | 11\28
| | 471.4286
| | 728.5714
| | 17\28
|-
| | 13\33
| | 472.&lt;u&gt;72&lt;/u&gt;
| | 727.&lt;u&gt;27&lt;/u&gt;
| | 20\33
|-
| | 2\5
| | 480
| | 720
| | 3\5
|-
| | 13\32
| | 487.5
| | 712.5
| | 19\32
|-
| | 11\27
| | 488.&lt;u&gt;8&lt;/u&gt;
| | 711.&lt;u&gt;1&lt;/u&gt;
| | 16\27
|-
| | 20\49
| | 489.7959
| | 710.2041
| | 29\49
|-
| | 9\22
| | 490.&lt;u&gt;90&lt;/u&gt;
| | 709.&lt;u&gt;09&lt;/u&gt;
| | 13\22
|-
| | 16\39
| | 492.3077
| | 707.6923
| | 23\39
|-
| | 7\17
| | 494.11765
| | 705.88235
| | 10\17
|-
| | 19\46
| | 495.6522
| | 704.3478
| | 27\46
|-
| | 12\29
| | 496.5517
| | 703.4483
| | 17\29
|-
| | 17\41
| | 497.561
| | 702.439
| | 24\41
|-
| | 22\53
| | 498.1132
| | 701.8868
| | 31\53
|-
| | 5\12
| | 500
| | 700
| | 7\12
|-
| | 18\43
| | 502.3256
| | 697.6744
| | 25\43
|-
| | 13\31
| | 503.226
| | 696.7741
| | 18\31
|-
| | 21\50
| | 504
| | 696
| | 29\50
|-
| | 8\19
| | 505.2631
| | 694.7369
| | 11\19
|-
| | 19\45
| | 506.&lt;u&gt;6&lt;/u&gt;
| | 693.&lt;u&gt;3&lt;/u&gt;
| | 26\45
|-
| | 11\26
| | 507.6923
| | 692.3077
| | 15\26
|-
| | 14\33
| | 509.&lt;u&gt;09&lt;/u&gt;
| | 690.&lt;u&gt;90&lt;/u&gt;
| | 19\33
|-
| | 3\7
| | 514.2857
| | 685.7143
| | 4/7
|-
| | 16\37
| | 518.&lt;u&gt;918&lt;/u&gt;
| | 681.&lt;u&gt;081&lt;/u&gt;
| | 21/37
|-
| | 13\30
| | 520
| | 680
| | 17\30
|-
| | 23\53
| | 520.7547
| | 679.2453
| | 30\53
|-
| | 10\23
| | 521.7391
| | 678.2609
| | 13\23
|-
| | 17\39
| | 523.0769
| | 677.9231
| | 22\39
|-
| | 7\16
| | 525
| | 675
| | 9\16
|-
| | 18\41
| | 526.8293
| | 673.1707
| | 23\41
|-
| | 11\25
| | 528
| | 672
| | 14\25
|-
| | 15\34
| | 529.4118
| | 670.5882
| | 19\34
|-
| | 4\9
| | 533.&lt;u&gt;3&lt;/u&gt;
| | 666.6
| | 5\9
|-
| | 17\38
| | 536.8421
| | 663.1579
| | 21\38
|-
| | 13\29
| | 537.931
| | 662.069
| | 16\29
|-
| | 22\49
| | 538.7755
| | 661.2245
| | 27\49
|-
| | 9\20
| | 540
| | 660
| | 11\20
|-
| | 23\51
| | 541.1765
| | 658.8235
| | 28\51
|-
| | 14\31
| | 541.9355
| | 658.0645
| | 17\31
|-
| | 19\42
| | 542.8571
| | 657.1429
| | 23/42
|-
| | 5\11
| | 545.&lt;u&gt;45&lt;/u&gt;
| | 654.54
| | 6\11
|-
| | 16\35
| | 548.5714
| | 651.4286
| | 19\35
|-
| | 11\24
| | 550
| | 650
| | 13\24
|-
| | 17\37
| | 551.&lt;u&gt;351&lt;/u&gt;
| | 648.&lt;u&gt;648&lt;/u&gt;
| | 20\37
|-
| | 6\13
| | 553.84615
| | 646.15395
| | 7\13
|-
| | 19\41
| | 556.0976
| | 645.9224
| | 22\41
|-
| | 13\28
| | 557.1429
| | 642.8571
| | 15\28
|-
| | 20\43
| | 558.1395
| | 642.8605
| | 23\43
|-
| | 7\15
| | 560
| | 640
| | 8\15
|-
| | 15\32
| | 562.5
| | 637.5
| | 17\32
|-
| | 8\17
| | 564.7059
| | 635.2941
| | 9\17
|-
| | 17\36
| | 566.&lt;u&gt;6&lt;/u&gt;
| | 633.&lt;u&gt;3&lt;/u&gt;
| | 19\36
|-
| | 9\19
| | 568.42105
| | 631.57895
| | 10\19
|-
| | 19\40
| | 570
| | 630
| | 21\40
|-
| | 10\21
| | 571.4286
| | 628.5714
| | 11\21
|-
| | 21\44
| | 572.&lt;u&gt;72&lt;/u&gt;
| | 627.&lt;u&gt;27&lt;/u&gt;
| | 23\44
|-
| | 11\23
| | 573.913
| | 626.087
| | 12\23
|-
| | 23\48
| | 575
| | 625
| | 25\48
|-
| | 12\25
| | 576
| | 624
| | 13\25
|-
| | 25\52
| | 576.9231
| | 623.0769
| | 27\52
|-
| | 13\27
| | 577.&lt;u&gt;7&lt;/u&gt;
| | 622.&lt;u&gt;2&lt;/u&gt;
| | 14\27
|-
| | 27\56
| | 578.5714
| | 621.4286
| | 29\56
|-
| | 14\29
| | 579.31
| | 620.69
| | 15\29
|-
| | 29\60
| | 580
| | 620
| | 31\60
|-
| | 15\31
| | 580.6452
| | 619.355
| | 16\31
|-
| | 16\33
| | 581.&lt;u&gt;81&lt;/u&gt;
| | 618.&lt;u&gt;18&lt;/u&gt;
| | 17\33
|-
| | 1\2
| colspan="2" style="text-align:center;" | 600
| | 1\2
|}
[[Category:edo]]</text>
      <sha1>r0iplul7q13laaxnx8j2inpyulcyz5l</sha1>
    </revision>
  </page>
  <page>
    <title>Bienvenidos</title>
    <ns>0</ns>
    <id>53</id>
    <revision>
      <id>194</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
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      <text bytes="1877" sha1="b5xojzmd8f55xygnp8pr5vq6z5p6thf" xml:space="preserve">=&lt;span style="color: #00b059; font-family: "Palatino Linotype","Book Antiqua",Palatino,serif; font-size: 266%;"&gt; ''Xenarmonía''&lt;/span&gt;=

&lt;span style="font-family: arial,helvetica,sans-serif; font-size: 13px;"&gt;Todo sonido es una vibración, expresable y entendible como una onda con forma compleja, esto porque no es sólo una onda, sino que son varias subsecciones, cada una en fracciones de la fundamental. Estas se llaman parciales y la cantidad de tal o cuál parcial determina el timbre de los sonidos. Cuando los parciales son desordenados, inestables y la serie de éstos es difícil de predecir o desentrañar se da el ruido acústico, como un plato de batería o un portazo; cuándo la serie es predecible y estable estos parciales se llaman armónicos, pues conforman una serie armónica de fracciones cada vez más complicadas. &lt;/span&gt;

&lt;span style="font-family: arial,helvetica,sans-serif; font-size: 13px;"&gt;[[OrientacionGeneral|Orientación General]]&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Teoría_Básica|Teoría Básica]] &lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Teoría_Profunda|Teoría Profunda]]&lt;/span&gt;

[[Herramientas_Útiles|Herramientas Útiles]]

&lt;span style="display: block; text-align: center;"&gt;
{| class="wikitable"
|-
| | [[File:panequalc.png|alt=panequalc.png|710x679px|panequalc.png]]
|-
| | panequalc.png
|}

&lt;span style="background-color: #ffffff;"&gt;&lt;span style="background-color: #ffffff;"&gt;Este es un gráfico polar de los valores de todas las fracciones entre 0 y 1 con denominador menor a 32. La parte superior representa tanto 0 y 1 (módulo 1). Los valores de las fracciones van en sentido de las agujas del reloj – &lt;/span&gt;cuánto más cerca del centro, más pequeño es el denominador. Este gráfico acompaña a la lista de la [[Anatomía_de_un_EDO|anatomía de una octava dividida equitatívamente]].&lt;/span&gt;

&lt;/span&gt;</text>
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    </revision>
    <revision>
      <id>195</id>
      <parentid>194</parentid>
      <timestamp>2018-10-01T18:57:40Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
      <origin>195</origin>
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      <format>text/x-wiki</format>
      <text bytes="1877" sha1="b5xojzmd8f55xygnp8pr5vq6z5p6thf" xml:space="preserve">=&lt;span style="color: #00b059; font-family: "Palatino Linotype","Book Antiqua",Palatino,serif; font-size: 266%;"&gt; ''Xenarmonía''&lt;/span&gt;=

&lt;span style="font-family: arial,helvetica,sans-serif; font-size: 13px;"&gt;Todo sonido es una vibración, expresable y entendible como una onda con forma compleja, esto porque no es sólo una onda, sino que son varias subsecciones, cada una en fracciones de la fundamental. Estas se llaman parciales y la cantidad de tal o cuál parcial determina el timbre de los sonidos. Cuando los parciales son desordenados, inestables y la serie de éstos es difícil de predecir o desentrañar se da el ruido acústico, como un plato de batería o un portazo; cuándo la serie es predecible y estable estos parciales se llaman armónicos, pues conforman una serie armónica de fracciones cada vez más complicadas. &lt;/span&gt;

&lt;span style="font-family: arial,helvetica,sans-serif; font-size: 13px;"&gt;[[OrientacionGeneral|Orientación General]]&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Teoría_Básica|Teoría Básica]] &lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Teoría_Profunda|Teoría Profunda]]&lt;/span&gt;

[[Herramientas_Útiles|Herramientas Útiles]]

&lt;span style="display: block; text-align: center;"&gt;
{| class="wikitable"
|-
| | [[File:panequalc.png|alt=panequalc.png|710x679px|panequalc.png]]
|-
| | panequalc.png
|}

&lt;span style="background-color: #ffffff;"&gt;&lt;span style="background-color: #ffffff;"&gt;Este es un gráfico polar de los valores de todas las fracciones entre 0 y 1 con denominador menor a 32. La parte superior representa tanto 0 y 1 (módulo 1). Los valores de las fracciones van en sentido de las agujas del reloj – &lt;/span&gt;cuánto más cerca del centro, más pequeño es el denominador. Este gráfico acompaña a la lista de la [[Anatomía_de_un_EDO|anatomía de una octava dividida equitatívamente]].&lt;/span&gt;

&lt;/span&gt;</text>
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    </revision>
    <revision>
      <id>289</id>
      <parentid>195</parentid>
      <timestamp>2018-10-15T11:20:14Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>"imported" image</comment>
      <origin>289</origin>
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      <text bytes="1786" sha1="hjmfyqc3v4zaqhwi3gjrx7cz6omst5b" xml:space="preserve">=&lt;span style="color: #00b059; font-family: "Palatino Linotype","Book Antiqua",Palatino,serif; font-size: 266%;"&gt; ''Xenarmonía''&lt;/span&gt;=

&lt;span style="font-family: arial,helvetica,sans-serif; font-size: 13px;"&gt;Todo sonido es una vibración, expresable y entendible como una onda con forma compleja, esto porque no es sólo una onda, sino que son varias subsecciones, cada una en fracciones de la fundamental. Estas se llaman parciales y la cantidad de tal o cuál parcial determina el timbre de los sonidos. Cuando los parciales son desordenados, inestables y la serie de éstos es difícil de predecir o desentrañar se da el ruido acústico, como un plato de batería o un portazo; cuándo la serie es predecible y estable estos parciales se llaman armónicos, pues conforman una serie armónica de fracciones cada vez más complicadas. &lt;/span&gt;

&lt;span style="font-family: arial,helvetica,sans-serif; font-size: 13px;"&gt;[[OrientacionGeneral|Orientación General]]&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Teoría_Básica|Teoría Básica]] &lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Teoría_Profunda|Teoría Profunda]]&lt;/span&gt;

[[Herramientas_Útiles|Herramientas Útiles]]
{|
|[[File:panequalc.png|alt=panequalc.png|thumb|710x679px|panequalc.png]]
|}

&lt;span style="background-color: #ffffff;"&gt;&lt;span style="background-color: #ffffff;"&gt;Este es un gráfico polar de los valores de todas las fracciones entre 0 y 1 con denominador menor a 32. La parte superior representa tanto 0 y 1 (módulo 1). Los valores de las fracciones van en sentido de las agujas del reloj – &lt;/span&gt;cuánto más cerca del centro, más pequeño es el denominador. Este gráfico acompaña a la lista de la [[Anatomía_de_un_EDO|anatomía de una octava dividida equitatívamente]].&lt;/span&gt;

&lt;/span&gt;</text>
      <sha1>hjmfyqc3v4zaqhwi3gjrx7cz6omst5b</sha1>
    </revision>
    <revision>
      <id>290</id>
      <parentid>289</parentid>
      <timestamp>2018-10-15T11:30:19Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>merged content from [[Página principal]]</comment>
      <origin>290</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2620" sha1="ld0ddf45bwn5uzs5hmelu4r0767va0o" xml:space="preserve">{{interwiki
| de = Hauptseite
| en = Main Page
| es = Bienvenidos
| ja = ようこそ！Xenharmonicの世界へ
}}
¡Bienvenidos al wiki xenarmónico!, un recurso para que lo implemente cualquier persona interesada en música [[xenarmónico|xenarmónica]], microtonalismo, o afinaciones alternativas en general. Visite también [[:en:|nuestra página en inglés]] para más información.

&lt;span style=""&gt;Puedes comenzar comprendiendo en primera instancia lo que son los [[EDOs|EDOs.]] Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es MULTIVERSAL y no universal.&lt;/span&gt;

:''ver también este sitio web [http://www.microtonalismo.com www.microtonalismo.com ], un sito dedicado al microtonalismo,&lt;span style=""&gt; destacando especialmente el [[17_EDO|17-EDO]].''

=&lt;span style="color: #00b059; font-family: "Palatino Linotype","Book Antiqua",Palatino,serif; font-size: 266%;"&gt; ''Xenarmonía''&lt;/span&gt;=

&lt;span style="font-family: arial,helvetica,sans-serif; font-size: 13px;"&gt;Todo sonido es una vibración, expresable y entendible como una onda con forma compleja, esto porque no es sólo una onda, sino que son varias subsecciones, cada una en fracciones de la fundamental. Estas se llaman parciales y la cantidad de tal o cuál parcial determina el timbre de los sonidos. Cuando los parciales son desordenados, inestables y la serie de éstos es difícil de predecir o desentrañar se da el ruido acústico, como un plato de batería o un portazo; cuándo la serie es predecible y estable estos parciales se llaman armónicos, pues conforman una serie armónica de fracciones cada vez más complicadas. &lt;/span&gt;

&lt;span style="font-family: arial,helvetica,sans-serif; font-size: 13px;"&gt;[[OrientacionGeneral|Orientación General]]&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Teoría_Básica|Teoría Básica]] &lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Teoría_Profunda|Teoría Profunda]]&lt;/span&gt;

[[Herramientas_Útiles|Herramientas Útiles]]
{|
|[[File:panequalc.png|alt=panequalc.png|thumb|710x679px|panequalc.png]]
|}

&lt;span style="background-color: #ffffff;"&gt;&lt;span style="background-color: #ffffff;"&gt;Este es un gráfico polar de los valores de todas las fracciones entre 0 y 1 con denominador menor a 32. La parte superior representa tanto 0 y 1 (módulo 1). Los valores de las fracciones van en sentido de las agujas del reloj – &lt;/span&gt;cuánto más cerca del centro, más pequeño es el denominador. Este gráfico acompaña a la lista de la [[Anatomía_de_un_EDO|anatomía de una octava dividida equitatívamente]].&lt;/span&gt;

&lt;/span&gt;</text>
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    </revision>
    <revision>
      <id>302</id>
      <parentid>290</parentid>
      <timestamp>2018-10-15T12:28:12Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>simplified links; decreased image size; moved image to upper right corner</comment>
      <origin>302</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2030" sha1="sqkq1dujxgukwg3jzj5ii3yy7dnip9j" xml:space="preserve">[[File:panequalc.png|alt=panequalc.png|thumb|318px|panequalc.png]]
{{interwiki
| de = Hauptseite
| en = Main Page
| es = Bienvenidos
| ja = ようこそ！Xenharmonicの世界へ
}}
¡Bienvenidos al wiki xenarmónico!, un recurso para que lo implemente cualquier persona interesada en música [[xenarmónico|xenarmónica]], microtonalismo, o afinaciones alternativas en general. Visite también [[:en:|nuestra página en inglés]] para más información.

Puedes comenzar comprendiendo en primera instancia lo que son los [[EDOs]]. Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es MULTIVERSAL y no universal.

:''ver también este sitio web [http://www.microtonalismo.com www.microtonalismo.com ], un sito dedicado al microtonalismo, destacando especialmente el [[17 EDO|17-EDO]].''

== ''Xenarmonía'' ==

Todo sonido es una vibración, expresable y entendible como una onda con forma compleja, esto porque no es sólo una onda, sino que son varias subsecciones, cada una en fracciones de la fundamental. Estas se llaman parciales y la cantidad de tal o cuál parcial determina el timbre de los sonidos. Cuando los parciales son desordenados, inestables y la serie de éstos es difícil de predecir o desentrañar se da el ruido acústico, como un plato de batería o un portazo; cuándo la serie es predecible y estable estos parciales se llaman armónicos, pues conforman una serie armónica de fracciones cada vez más complicadas.

* [[Orientación General]]
* [[Teoría Básica]]
* [[Teoría Profunda]]
* [[Herramientas Útiles]]

Este es un gráfico polar de los valores de todas las fracciones entre 0 y 1 con denominador menor a 32. La parte superior representa tanto 0 y 1 (módulo 1). Los valores de las fracciones van en sentido de las agujas del reloj – &lt;/span&gt;cuánto más cerca del centro, más pequeño es el denominador. Este gráfico acompaña a la lista de la [[Anatomía de un EDO|anatomía de una octava dividida equitatívamente]].</text>
      <sha1>sqkq1dujxgukwg3jzj5ii3yy7dnip9j</sha1>
    </revision>
    <revision>
      <id>305</id>
      <parentid>302</parentid>
      <timestamp>2018-12-27T22:29:13Z</timestamp>
      <contributor>
        <username>URL</username>
        <id>9</id>
      </contributor>
      <minor/>
      <comment>Corregir errores ortográficos.</comment>
      <origin>305</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2012" sha1="nanq91lrful9woe3g47297tojwb3jxr" xml:space="preserve">[[File:panequalc.png|alt=panequalc.png|thumb|318px|panequalc.png]]
{{interwiki
| de = Hauptseite
| en = Main Page
| es = Bienvenidos
| ja = ようこそ！Xenharmonicの世界へ
}}
¡Bienvenidos al wiki xenarmónico!, un recurso para cualquier persona interesada en música [[xenarmónico|xenarmónica]], microtonalismo, o afinaciones alternativas en general. Visite también [[:en:|nuestra página en inglés]] para más información.

Puede comenzar leyendo acerca de lo que son los [[EDOs]]. Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es ''multiversal'' y no solo universal.

:''ver también este sitio web [http://www.microtonalismo.com www.microtonalismo.com] , un sito dedicado al microtonalismo, destacando especialmente el [[17 EDO|17-EDO]].''

== ''Xenarmonía'' ==

Todo sonido es una vibración, expresable y entendible como una onda con forma compleja. esto porque no es solo una onda, sino que son varias subsecciones, cada una en fracciones de la fundamental. Estas se llaman parciales y la cantidad de tal o cuál parcial determina el timbre de los sonidos. Cuando los parciales son desordenados, inestables y la serie de estos es difícil de predecir o desentrañar se da el ruido acústico, como un plato de batería o un portazo; cuando la serie es predecible y estable, estos parciales se llaman armónicos, pues conforman una serie armónica de fracciones cada vez más complicadas.

* [[Orientación General]]
* [[Teoría Básica]]
* [[Teoría Profunda]]
* [[Herramientas Útiles]]

Arriba se muestra un gráfico polar de los valores de todas las fracciones entre 0 y 1 con denominador menor a 32. La parte superior representa tanto al 0 como al 1 (módulo 1). Los valores de las fracciones van en sentido de las agujas del reloj – cuánto más cerca del centro, más pequeño es el denominador. Este gráfico acompaña a la lista de la [[Anatomía de un EDO|anatomía de una octava dividida equitativamente]].</text>
      <sha1>nanq91lrful9woe3g47297tojwb3jxr</sha1>
    </revision>
    <revision>
      <id>349</id>
      <parentid>305</parentid>
      <timestamp>2026-07-15T08:29:36Z</timestamp>
      <contributor>
        <username>Eufalesio</username>
        <id>13</id>
      </contributor>
      <comment>Este es el comienzo</comment>
      <origin>349</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2013" sha1="1wh5f5jilo3ppdeid5a5sk6z9qagwsu" xml:space="preserve">[[File:panequalc.png|alt=panequalc.png|thumb|318px|panequalc.png]]
{{interwiki
| de = Hauptseite
| en = Main Page
| es = Bienvenidos
| ja = ようこそ！Xenharmonicの世界へ
}}
La Wiki Xeharmónica es una enciclopedia abierta para cualquier persona interesada en música [[xenarmónico|xenarmónica]], microtonalismo, o afinaciones alternativas en general. Visite también [[:en:|nuestra página en inglés]] para más información.

Puede comenzar leyendo acerca de lo que son los [[EDOs]]. Más adelante se añadirá más información sobre otros compendios musicales, ya que el abasto musical de posibilidades es ''multiversal'' y no solo universal.

:''ver también este sitio web [http://www.microtonalismo.com www.microtonalismo.com] , un sito dedicado al microtonalismo, destacando especialmente el [[17 EDO|17-EDO]].''

== ''Xenarmonía'' ==

Todo sonido es una vibración, expresable y entendible como una onda con forma compleja. esto porque no es solo una onda, sino que son varias subsecciones, cada una en fracciones de la fundamental. Estas se llaman parciales y la cantidad de tal o cuál parcial determina el timbre de los sonidos. Cuando los parciales son desordenados, inestables y la serie de estos es difícil de predecir o desentrañar se da el ruido acústico, como un plato de batería o un portazo; cuando la serie es predecible y estable, estos parciales se llaman armónicos, pues conforman una serie armónica de fracciones cada vez más complicadas.

* [[Orientación General]]
* [[Teoría Básica]]
* [[Teoría Profunda]]
* [[Herramientas Útiles]]

Arriba se muestra un gráfico polar de los valores de todas las fracciones entre 0 y 1 con denominador menor a 32. La parte superior representa tanto al 0 como al 1 (módulo 1). Los valores de las fracciones van en sentido de las agujas del reloj – cuánto más cerca del centro, más pequeño es el denominador. Este gráfico acompaña a la lista de la [[Anatomía de un EDO|anatomía de una octava dividida equitativamente]].</text>
      <sha1>1wh5f5jilo3ppdeid5a5sk6z9qagwsu</sha1>
    </revision>
  </page>
  <page>
    <title>Centésimas</title>
    <ns>0</ns>
    <id>54</id>
    <revision>
      <id>196</id>
      <timestamp>2018-09-29T11:56:32Z</timestamp>
      <contributor>
        <username>ImportFromEn&gt;PiotrGrochowski</username>
        <id>0</id>
      </contributor>
      <origin>196</origin>
      <model>wikitext</model>
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      <text bytes="4174" sha1="k5l0hlmfrnegjlgkrzaqfcxnabg1r9k" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[de:Cent|Deutsch]][[en:cent|English]]&lt;/span&gt;

Las centésimas de tono o cents son una de las menores unidades que empleamos para calcular la altura de un sonido sobre un tono fundamental expresado como cero (0). Equivale a una centésima del semitono temperado, lo que quiere decir que cada porción del Sistema Occidental Dodecafónico (12EDO) mide 100 cents, sumando todas las notas de la octava tenemos 1200 cents. Así, una quinta de siete pasos en este sistema sería de 700 cents. La altura musical del Sistema Temperado Actual se mide manera logarítmica en razón de la dodecagésima raíz de 2, mientras que en intervalos justos, esta quinta (3:2) sería de aproximadamente 701.955001 cents.

La fórmula para calcular la altura de una frecuencia en cents es:

[[File:RadiohaciaCents.png|alt=RadiohaciaCents.png|477x51px|RadiohaciaCents.png]]

Algunos ejemplos son los siguientes:

&lt;ul&gt;&lt;li&gt;Una [[octava|octava]] mide 1200 cents.&lt;/li&gt;&lt;li&gt;Dos octavas miden 2400 cents.&lt;/li&gt;&lt;li&gt;Una [[Tritava|tritava]] mide aproximadamente 1901.955001 cents.&lt;/li&gt;&lt;li&gt;Una [[5/4|tercia major]] (5/4) mide aproximadamente 386.313714 cents&lt;/li&gt;&lt;/ul&gt;

Para calcular la diferencia entre dos vibraciones traducida a Cents:

[[File:diferenciaHZenCents.png|alt=diferenciaHZenCents.png|558x44px|diferenciaHZenCents.png]]

&lt;span style="display: block; height: 1px; left: 0px; overflow: hidden; position: absolute; top: 25px; width: 1px;"&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify; text-indent: -36pt;"&gt;1.1.1. es la menor unidad que empleamos para calcular la altura de un sonido sobre un tono Fundamental expresado como cero (0). Equivale a una centésima del semitono temperado, lo que quiere decir que cada porción del Sistema Occidental dodecafónico (12EDO) mide 100cents, sumando todas las notas de la octava tenemos 1200cents, así una quinta de siete pasos en este Sistema sería de 700cents. La altura musical del Sistema Temperado Actual se mide manera logarítmica en razón de &lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%; position: relative; top: 4pt;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image002.png|alt=external image clip_image002.png|31x26px|external image clip_image002.png]]&lt;/span&gt;, diferente de los intervalos Justos, en la que esa quinta (3:2) sería de 701.955001cents. &lt;/span&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;La fórmula para calcular la altura de un Radio en Cents es:

&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image004.png|alt=external image clip_image004.png|445x43px|external image clip_image004.png]]&lt;/span&gt;&lt;/span&gt;

&lt;span style="margin-left: 54.0pt; text-align: justify;"&gt;&lt;span style="background: white;"&gt;Ok, ahora pensemos momentáneamente en base al pianoforte actual: Do0 con respecto a Do1 se expresa en un RADIO de 2/1, con 1200cents. Do0 y Do2 se expresa en un radio de 4/1, con 2400cents, esto&lt;/span&gt; es porque la mitad de una cuerda es la octava del tono q la cuerda hace entera, cuando tocamos un cuarto de la cuerda oímos el sonido fundamental dos octavas arriba, así se cumplen los RADIOS 2/1 y 4/1, sus 8/1, 16/1. Do0 y Sol1 se expresan con el radio 3/1, es la doceava, con 1901.955cents, 3:2 con 701.955cents. Ahora 5/1 es una diecisieteava mayor, eso quiere decir q si tocamos un quinto de una cuerda tenemos el sonido de dos octavas y una tercera mayor con respecto a la fundamental, sea Do0 y Mi2 se expresan con el radio 5/1, con 2786.31371cents. &lt;/span&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;Para calcular la diferencia entre dos vibraciones traducida a Cents: &lt;/span&gt;

&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image006.png|alt=external image clip_image006.png|601x43px|external image clip_image006.png]]&lt;/span&gt;

&lt;/span&gt;</text>
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    </revision>
    <revision>
      <id>197</id>
      <parentid>196</parentid>
      <timestamp>2018-10-01T18:57:41Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
      <origin>197</origin>
      <model>wikitext</model>
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      <text bytes="4174" sha1="k5l0hlmfrnegjlgkrzaqfcxnabg1r9k" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[de:Cent|Deutsch]][[en:cent|English]]&lt;/span&gt;

Las centésimas de tono o cents son una de las menores unidades que empleamos para calcular la altura de un sonido sobre un tono fundamental expresado como cero (0). Equivale a una centésima del semitono temperado, lo que quiere decir que cada porción del Sistema Occidental Dodecafónico (12EDO) mide 100 cents, sumando todas las notas de la octava tenemos 1200 cents. Así, una quinta de siete pasos en este sistema sería de 700 cents. La altura musical del Sistema Temperado Actual se mide manera logarítmica en razón de la dodecagésima raíz de 2, mientras que en intervalos justos, esta quinta (3:2) sería de aproximadamente 701.955001 cents.

La fórmula para calcular la altura de una frecuencia en cents es:

[[File:RadiohaciaCents.png|alt=RadiohaciaCents.png|477x51px|RadiohaciaCents.png]]

Algunos ejemplos son los siguientes:

&lt;ul&gt;&lt;li&gt;Una [[octava|octava]] mide 1200 cents.&lt;/li&gt;&lt;li&gt;Dos octavas miden 2400 cents.&lt;/li&gt;&lt;li&gt;Una [[Tritava|tritava]] mide aproximadamente 1901.955001 cents.&lt;/li&gt;&lt;li&gt;Una [[5/4|tercia major]] (5/4) mide aproximadamente 386.313714 cents&lt;/li&gt;&lt;/ul&gt;

Para calcular la diferencia entre dos vibraciones traducida a Cents:

[[File:diferenciaHZenCents.png|alt=diferenciaHZenCents.png|558x44px|diferenciaHZenCents.png]]

&lt;span style="display: block; height: 1px; left: 0px; overflow: hidden; position: absolute; top: 25px; width: 1px;"&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify; text-indent: -36pt;"&gt;1.1.1. es la menor unidad que empleamos para calcular la altura de un sonido sobre un tono Fundamental expresado como cero (0). Equivale a una centésima del semitono temperado, lo que quiere decir que cada porción del Sistema Occidental dodecafónico (12EDO) mide 100cents, sumando todas las notas de la octava tenemos 1200cents, así una quinta de siete pasos en este Sistema sería de 700cents. La altura musical del Sistema Temperado Actual se mide manera logarítmica en razón de &lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%; position: relative; top: 4pt;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image002.png|alt=external image clip_image002.png|31x26px|external image clip_image002.png]]&lt;/span&gt;, diferente de los intervalos Justos, en la que esa quinta (3:2) sería de 701.955001cents. &lt;/span&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;La fórmula para calcular la altura de un Radio en Cents es:

&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image004.png|alt=external image clip_image004.png|445x43px|external image clip_image004.png]]&lt;/span&gt;&lt;/span&gt;

&lt;span style="margin-left: 54.0pt; text-align: justify;"&gt;&lt;span style="background: white;"&gt;Ok, ahora pensemos momentáneamente en base al pianoforte actual: Do0 con respecto a Do1 se expresa en un RADIO de 2/1, con 1200cents. Do0 y Do2 se expresa en un radio de 4/1, con 2400cents, esto&lt;/span&gt; es porque la mitad de una cuerda es la octava del tono q la cuerda hace entera, cuando tocamos un cuarto de la cuerda oímos el sonido fundamental dos octavas arriba, así se cumplen los RADIOS 2/1 y 4/1, sus 8/1, 16/1. Do0 y Sol1 se expresan con el radio 3/1, es la doceava, con 1901.955cents, 3:2 con 701.955cents. Ahora 5/1 es una diecisieteava mayor, eso quiere decir q si tocamos un quinto de una cuerda tenemos el sonido de dos octavas y una tercera mayor con respecto a la fundamental, sea Do0 y Mi2 se expresan con el radio 5/1, con 2786.31371cents. &lt;/span&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;Para calcular la diferencia entre dos vibraciones traducida a Cents: &lt;/span&gt;

&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image006.png|alt=external image clip_image006.png|601x43px|external image clip_image006.png]]&lt;/span&gt;

&lt;/span&gt;</text>
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      <text bytes="4246" sha1="9o8jf72le6r80n8wom55i2egswhxgv2" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[de:Cent|Deutsch]][[en:cent|English]]&lt;/span&gt;

Las centésimas de tono o cents son una de las menores unidades que empleamos para calcular la altura de un sonido sobre un tono fundamental expresado como cero (0). Equivale a una centésima del semitono temperado, lo que quiere decir que cada porción del Sistema Occidental Dodecafónico (12EDO) mide 100 cents, sumando todas las notas de la octava tenemos 1200 cents. Así, una quinta de siete pasos en este sistema sería de 700 cents. La altura musical del Sistema Temperado Actual se mide manera logarítmica en razón de la dodecagésima raíz de 2, mientras que en intervalos justos, esta quinta (3:2) sería de aproximadamente 701.955001 cents.

La fórmula para calcular la altura de una frecuencia en cents es:

&lt;math&gt;
\text{Fundamental Hz} * \frac{\text{Numero Mayor}}{\text{Numero Menor}} = \text{Radio expresado en Hz}
&lt;/math&gt;

Algunos ejemplos son los siguientes:

&lt;ul&gt;&lt;li&gt;Una [[octava|octava]] mide 1200 cents.&lt;/li&gt;&lt;li&gt;Dos octavas miden 2400 cents.&lt;/li&gt;&lt;li&gt;Una [[Tritava|tritava]] mide aproximadamente 1901.955001 cents.&lt;/li&gt;&lt;li&gt;Una [[5/4|tercia major]] (5/4) mide aproximadamente 386.313714 cents&lt;/li&gt;&lt;/ul&gt;

Para calcular la diferencia entre dos vibraciones traducida a Cents:

&lt;math&gt;
1200 * log_2 \frac{\text{Hertzio a comparar}}{\text{Hertzio base}} = \text{Diferencia entre Hz expresada en Cents}
&lt;/math&gt;

&lt;span style="display: block; height: 1px; left: 0px; overflow: hidden; position: absolute; top: 25px; width: 1px;"&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify; text-indent: -36pt;"&gt;1.1.1. es la menor unidad que empleamos para calcular la altura de un sonido sobre un tono Fundamental expresado como cero (0). Equivale a una centésima del semitono temperado, lo que quiere decir que cada porción del Sistema Occidental dodecafónico (12EDO) mide 100cents, sumando todas las notas de la octava tenemos 1200cents, así una quinta de siete pasos en este Sistema sería de 700cents. La altura musical del Sistema Temperado Actual se mide manera logarítmica en razón de &lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%; position: relative; top: 4pt;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image002.png|alt=external image clip_image002.png|31x26px|external image clip_image002.png]]&lt;/span&gt;, diferente de los intervalos Justos, en la que esa quinta (3:2) sería de 701.955001cents. &lt;/span&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;La fórmula para calcular la altura de un Radio en Cents es:

&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image004.png|alt=external image clip_image004.png|445x43px|external image clip_image004.png]]&lt;/span&gt;&lt;/span&gt;

&lt;span style="margin-left: 54.0pt; text-align: justify;"&gt;&lt;span style="background: white;"&gt;Ok, ahora pensemos momentáneamente en base al pianoforte actual: Do0 con respecto a Do1 se expresa en un RADIO de 2/1, con 1200cents. Do0 y Do2 se expresa en un radio de 4/1, con 2400cents, esto&lt;/span&gt; es porque la mitad de una cuerda es la octava del tono q la cuerda hace entera, cuando tocamos un cuarto de la cuerda oímos el sonido fundamental dos octavas arriba, así se cumplen los RADIOS 2/1 y 4/1, sus 8/1, 16/1. Do0 y Sol1 se expresan con el radio 3/1, es la doceava, con 1901.955cents, 3:2 con 701.955cents. Ahora 5/1 es una diecisieteava mayor, eso quiere decir q si tocamos un quinto de una cuerda tenemos el sonido de dos octavas y una tercera mayor con respecto a la fundamental, sea Do0 y Mi2 se expresan con el radio 5/1, con 2786.31371cents. &lt;/span&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;Para calcular la diferencia entre dos vibraciones traducida a Cents: &lt;/span&gt;

&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image006.png|alt=external image clip_image006.png|601x43px|external image clip_image006.png]]&lt;/span&gt;

&lt;/span&gt;</text>
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| de = Cent
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}}
Las centésimas de tono o cents son una de las menores unidades que empleamos para calcular la altura de un sonido sobre un tono fundamental expresado como cero (0). Equivale a una centésima del semitono temperado, lo que quiere decir que cada porción del Sistema Occidental Dodecafónico (12EDO) mide 100 cents, sumando todas las notas de la octava tenemos 1200 cents. Así, una quinta de siete pasos en este sistema sería de 700 cents. La altura musical del Sistema Temperado Actual se mide manera logarítmica en razón de la dodecagésima raíz de 2, mientras que en intervalos justos, esta quinta (3:2) sería de aproximadamente 701.955001 cents.

La fórmula para calcular la altura de una frecuencia en cents es:

&lt;math&gt;
\text{Fundamental Hz} * \frac{\text{Numero Mayor}}{\text{Numero Menor}} = \text{Radio expresado en Hz}
&lt;/math&gt;

Algunos ejemplos son los siguientes:

&lt;ul&gt;&lt;li&gt;Una [[octava|octava]] mide 1200 cents.&lt;/li&gt;&lt;li&gt;Dos octavas miden 2400 cents.&lt;/li&gt;&lt;li&gt;Una [[Tritava|tritava]] mide aproximadamente 1901.955001 cents.&lt;/li&gt;&lt;li&gt;Una [[5/4|tercia major]] (5/4) mide aproximadamente 386.313714 cents&lt;/li&gt;&lt;/ul&gt;

Para calcular la diferencia entre dos vibraciones traducida a Cents:

&lt;math&gt;
1200 * log_2 \frac{\text{Hertzio a comparar}}{\text{Hertzio base}} = \text{Diferencia entre Hz expresada en Cents}
&lt;/math&gt;

&lt;span style="display: block; height: 1px; left: 0px; overflow: hidden; position: absolute; top: 25px; width: 1px;"&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify; text-indent: -36pt;"&gt;1.1.1. es la menor unidad que empleamos para calcular la altura de un sonido sobre un tono Fundamental expresado como cero (0). Equivale a una centésima del semitono temperado, lo que quiere decir que cada porción del Sistema Occidental dodecafónico (12EDO) mide 100cents, sumando todas las notas de la octava tenemos 1200cents, así una quinta de siete pasos en este Sistema sería de 700cents. La altura musical del Sistema Temperado Actual se mide manera logarítmica en razón de &lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%; position: relative; top: 4pt;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image002.png|alt=external image clip_image002.png|31x26px|external image clip_image002.png]]&lt;/span&gt;, diferente de los intervalos Justos, en la que esa quinta (3:2) sería de 701.955001cents. &lt;/span&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;La fórmula para calcular la altura de un Radio en Cents es:

&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image004.png|alt=external image clip_image004.png|445x43px|external image clip_image004.png]]&lt;/span&gt;&lt;/span&gt;

&lt;span style="margin-left: 54.0pt; text-align: justify;"&gt;&lt;span style="background: white;"&gt;Ok, ahora pensemos momentáneamente en base al pianoforte actual: Do0 con respecto a Do1 se expresa en un RADIO de 2/1, con 1200cents. Do0 y Do2 se expresa en un radio de 4/1, con 2400cents, esto&lt;/span&gt; es porque la mitad de una cuerda es la octava del tono q la cuerda hace entera, cuando tocamos un cuarto de la cuerda oímos el sonido fundamental dos octavas arriba, así se cumplen los RADIOS 2/1 y 4/1, sus 8/1, 16/1. Do0 y Sol1 se expresan con el radio 3/1, es la doceava, con 1901.955cents, 3:2 con 701.955cents. Ahora 5/1 es una diecisieteava mayor, eso quiere decir q si tocamos un quinto de una cuerda tenemos el sonido de dos octavas y una tercera mayor con respecto a la fundamental, sea Do0 y Mi2 se expresan con el radio 5/1, con 2786.31371cents. &lt;/span&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;Para calcular la diferencia entre dos vibraciones traducida a Cents: &lt;/span&gt;

&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image006.png|alt=external image clip_image006.png|601x43px|external image clip_image006.png]]&lt;/span&gt;

&lt;/span&gt;</text>
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| en = Cent
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}}
Las centésimas de tono o cents son una de las menores unidades que empleamos para calcular la altura de un sonido sobre un tono fundamental expresado como cero (0). Equivale a una centésima del semitono temperado, lo que quiere decir que cada porción del Sistema Occidental Dodecafónico (12EDO) mide 100 cents, sumando todas las notas de la octava tenemos 1200 cents. Así, una quinta de siete pasos en este sistema sería de 700 cents. La altura musical del Sistema Temperado Actual se mide manera logarítmica en razón de la dodecagésima raíz de 2, mientras que en intervalos justos, esta quinta (3:2) sería de aproximadamente 701.955001 cents.

La fórmula para calcular la altura de una frecuencia en cents es:

&lt;math&gt;
\text{Fundamental Hz} * \frac{\text{Numero Mayor}}{\text{Numero Menor}} = \text{Radio expresado en Hz}
&lt;/math&gt;

Algunos ejemplos son los siguientes:

&lt;ul&gt;&lt;li&gt;Una [[octava|octava]] mide 1200 cents.&lt;/li&gt;&lt;li&gt;Dos octavas miden 2400 cents.&lt;/li&gt;&lt;li&gt;Una [[Tritava|tritava]] mide aproximadamente 1901.955001 cents.&lt;/li&gt;&lt;li&gt;Una [[5/4|tercia major]] (5/4) mide aproximadamente 386.313714 cents&lt;/li&gt;&lt;/ul&gt;

Para calcular la diferencia entre dos vibraciones traducida a Cents:

&lt;math&gt;
1200 * log_2 \frac{\text{Hertzio a comparar}}{\text{Hertzio base}} = \text{Diferencia entre Hz expresada en Cents}
&lt;/math&gt;

&lt;span style="display: block; height: 1px; left: 0px; overflow: hidden; position: absolute; top: 25px; width: 1px;"&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify; text-indent: -36pt;"&gt;1.1.1. es la menor unidad que empleamos para calcular la altura de un sonido sobre un tono Fundamental expresado como cero (0). Equivale a una centésima del semitono temperado, lo que quiere decir que cada porción del Sistema Occidental dodecafónico (12EDO) mide 100cents, sumando todas las notas de la octava tenemos 1200cents, así una quinta de siete pasos en este Sistema sería de 700cents. La altura musical del Sistema Temperado Actual se mide manera logarítmica en razón de &lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%; position: relative; top: 4pt;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image002.png|alt=external image clip_image002.png|31x26px|external image clip_image002.png]]&lt;/span&gt;, diferente de los intervalos Justos, en la que esa quinta (3:2) sería de 701.955001cents. &lt;/span&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;La fórmula para calcular la altura de un Radio en Cents es:

&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image004.png|alt=external image clip_image004.png|445x43px|external image clip_image004.png]]&lt;/span&gt;&lt;/span&gt;

&lt;span style="margin-left: 54.0pt; text-align: justify;"&gt;&lt;span style="background: white;"&gt;Ok, ahora pensemos momentáneamente en base al pianoforte actual: Do0 con respecto a Do1 se expresa en un RADIO de 2/1, con 1200cents. Do0 y Do2 se expresa en un radio de 4/1, con 2400cents, esto&lt;/span&gt; es porque la mitad de una cuerda es la octava del tono q la cuerda hace entera, cuando tocamos un cuarto de la cuerda oímos el sonido fundamental dos octavas arriba, así se cumplen los RADIOS 2/1 y 4/1, sus 8/1, 16/1. Do0 y Sol1 se expresan con el radio 3/1, es la doceava, con 1901.955cents, 3:2 con 701.955cents. Ahora 5/1 es una diecisieteava mayor, eso quiere decir q si tocamos un quinto de una cuerda tenemos el sonido de dos octavas y una tercera mayor con respecto a la fundamental, sea Do0 y Mi2 se expresan con el radio 5/1, con 2786.31371cents. &lt;/span&gt;

&lt;span style="line-height: normal; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;Para calcular la diferencia entre dos vibraciones traducida a Cents: &lt;/span&gt;

&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt; line-height: 107%; margin: 0cm 0cm 0cm 54pt; text-align: justify;"&gt;[[File:file:///C:/Users/Bruno/AppData/Local/Temp/msohtmlclip1/01/clip_image006.png|alt=external image clip_image006.png|601x43px|external image clip_image006.png]]&lt;/span&gt;

&lt;/span&gt;</text>
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  </page>
  <page>
    <title>Entonación Justa</title>
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    <id>55</id>
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      <id>198</id>
      <timestamp>2018-09-22T02:56:12Z</timestamp>
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        <username>ImportFromEn&gt;Spt3125</username>
        <id>0</id>
      </contributor>
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      <text bytes="27086" sha1="gjo95ogmjj0aqzp9tgi01uzx52hmwsz" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[:de:Reine_Stimmungen|Deutsch ]]- [[Just_intonation|English]]&lt;/span&gt;

Todo Sonido tiene una Fundamental, que es un Tono Puro y un recubrimiento de Parciales, que son ondas proporcionales de la nota fundamental en porciones más o menos armónicas q otras. Todos los Parciales pueden vibrar de cualquier manera, pero nuestra necesidad de medición aprecia su representación por medio de fracciones proporcionales, expresadas por Radios. Ahora cabe decir, q dentro de cualquier sonido se encuentra la posibilidad de todos los sonidos, ya que la onda, en su naturaleza varía siempre, incluso un Tono Puro, al chocar con objetos o entrar al conducto auditivo externo e interno, ya sufre de cambios que le dan débiles parciales de manera pseudo-aleatorea, obviamente esto no se siente de una manera clara; así podemos pensar que todo sonido puede ser tratado (sintetizado) para adquirir el timbre de cualquier otro, sea como el átomo q hace variar la materia según su número de electrones y características en los nucleones. Las relaciones existentes en el sonido pueden expresarse mediante Radios.

Los '''Radios''' son la manera que tenemos de expresar las proporciones que se tocan de una cuerda, entendiendo así las vibraciones de los Parciales y Armónicos que se dan en razón de dichas proporciones. Se tiene el criterio de que mientras más simple la relación de variables de un Radio, más consonante será al oído humano, aunque esto no siempre se cumple en la práctica. Lo q estudiamos por el momento es la proporcionalidad de un monocordio afinado a ''X'' Hz; anotaremos los RADIOS con el valor mayor primero, o sea en el Numerador (p.Ej 10:7 indica q se divide la cuerda en 10 partes materiales iguales de la cuerda y se tocaban 7 de éstas).

Imaginemos una cuerda. La cuerda se divide en porciones materialmente equitativas marcadas “.”, se ve cortada por una navaja “i”, el lado derecho de la cuerda interrumpida por “i” es el que suena.

&lt;pre&gt;
I------------------------I  1:1

I-----------i------------I  2:1

I-------.-------i--------I  3:1

I-------i-------.--------I  3:2

I-----.-----.-----i------I  4:1

I----.----.----.----i----I  5:1
&lt;/pre&gt;

Así aclararemos rápidamente de los Armónicos, el armónico segundo, es una octava simple, pero el tercero 3:1 se presenta junto a 3:2 para que entre dentro la octava, el cuarto repite más octavas, el quinto 5:1 estará junto a 5:4, etc., esto porque 3:1, 4:1, 5:1 y en adelante no se escuchan realmente, mientras más alto el Armónico menos perceptible para nuestro oído, pero nos da la ilusión de escucharse dentro el timbre, 3:1 como 3:2, 5:1 como 5:4, 7:1 como 7:6, etc., valga reconocer que desde el Sexto Armónico nos dan notas más excéntricas para el Sistema Occidental. Así viendo una cuerda vibrar podríamos darnos cuenta que en efecto 3:1, 3:2, 4:1, 4:3, 5:1, 5:2, 5:3, 5:4, etc., coexisten de varias maneras. Recordemos q recién tuvimos un acercamiento material a este fenómeno para su mejor comprensión a finales del siglo XX, por medio de la creación de cámaras microscópicas 3D de alta velocidad, al filmar una cuerda vibrar, al día de hoy recién vamos desentrañando realidades acerca de la onda sonora.

Debemos pensar también en que, si queremos octavar un radio se lo multiplica por 2, sea hacia arriba 2:1 o hacia abajo 1:2, por ejemplo 5:2 se octava hacia abajo y da 5:4, hacia arriba da 10:2=5:1. Así se puede transportar cualquier tono un número “n” de octavas, arriba=Tono*(2^n) ó abajo=Tono*((1/2)^n), a este principio le llamamos Equivalencia de Octava. La '''Equivalencia de Octava''' dice que cualquier Frecuencia, cualquier fenómeno periódico, puede ser transportado al espectro audible humano, teniendo un tono musical análogo al fenómeno en cuestión, (1/Periodo)*(2^n) = Frecuencia*(2^n) = Frecuencia Transpuesta a Hz. Así podemos calcular que nuestro rango auditivo estándar es (2^5 … 2^15)Hz, aproximadamente 10 octavas; 8 octavas debajo de este rango se encuentran las frecuencias que sentimos como Tempo y Ritmo, normalmente medido en Beats por Minuto (BPM).

Si la cuerda entera, 1:1, emite 100Hz, entonces 2:1 emitirá 200Hz, 3:1 emitirá 300Hz, etc.

Fijarse en “ / ”

&lt;pre&gt;
I--------i--------/--------I  3:1

I------------i---./---.---.I  2:1 * 3:2 = 6:2 = 3:1
&lt;/pre&gt;

Esto nos indica la '''Ley del Círculo Sonoro''', primero porque las notas octavadas, hacia arriba o abajo, siempre las sentiremos como la misma nota a pesar de su altura: segundo, porque las características del timbre hacen sentir los Armónicos en una altura abstracta, pues no los escuchamos como independientes. Todo Radio implica, al menos dos relaciones, la del Numerador del Radio, que en su forma Impar representa una Identidad vibracional en una tonalidad dada (Utonalidad), la del Denominador, que en su forma Impar representa una Identidad vibracional en otra tonalidad (Otonalidad). Sin importar su expresión en Radio, estas Identidades se consideran números impares. Es sorprendente que al escuchar 2:1, inmediatamente reconozcamos una nota ajena a 1:1, pero no podamos diferenciar su Identidad, es la misma vibración al doble de velocidad, pero nosotros no sabemos eso, sabemos que es el “mismo tono más arriba”, el que se multiplique la velocidad, a nuestro oído cambia la altura, pero no la sensación de Identidad.

La '''Identidad''' en la música es cada uno de los números impares por debajo (e incluyendo) el Límite impar de los radios de un temperamento. Por ejemplo las Identidades incluidas en el Límite 5 son 1, 3 y 5. Cada número impar representa un nuevo tono en la Serie Armónica. Sin embargo, el número 9 por ejemplo, a pesar de no ser un primo, constituye una Identidad, sólo por ser impar.

    Nota:  '''C'''  C  '''G'''  C  '''E'''  G  '''B'''  C  '''D'''   E   '''F'''   G ...

 Parcial:  '''1'''  2  '''3'''  4  '''5'''  6  '''7'''  8  '''9'''  10  '''11'''  12 ...

Y así, cada armónico se aleja de la consonancia, poco a poco entrando a la disonancia, lo q pasa es q mientras más complejo el Radio más disonante lo sentirá el oído del hombre; por ejemplo 10:7, es más difícil de procesar para el cerebro que 3:2, entonces percibimos 10:7 como “más disonante”, obviamente este es un proceso de comparación entre vibraciones y numerosos estudios etnomusicológicos avalan que mucho de nuestro gusto por tales o cuales Radios no es más que un gusto adquirido.

Ok, ahora pensemos momentáneamente en base al pianoforte actual: Do0 con respecto a Do1 se expresa en un RADIO de 2/1, con 1200cents; Do0 y Do2 se expresa en un radio de 4/1, con 2400cents; sabemos q eso es por q la mitad de una cuerda es la octava del tono q la cuerda hace entera, cuando tocamos un cuarto de la cuerda oímos el sonido fundamental dos octavas arriba. Así se cumplen los RADIOS 2/1 y 4/1, sus 8/1, 16/1. Do0 y Sol1 se expresan con el radio 3/1, es la doceava, con 1901.955cents. Ahora 5/1 es una diecisieteava mayor, eso quiere decir q si tocamos un quinto de una cuerda tenemos el sonido de dos octavas y una tercera mayor con respecto a la fundamental; sea Do0 y Mi2 se expresan con el radio 5/1, con 2786.31371cents,

y bueno, notarán q hemos dicho 2:1, 3:1, 4:1 y 5:1, podemos desarrollar por Ley de Armónicos 3:2, 4:3, 5:4, etc., pero lo q nos mueve hoy es ir por '''Límites''', eso significa ir de primo en primo: Para un Número Primo “n”, el Límite “n” contiene todos los números racionales que pueden ser combinados en Radios, utilizando números no más grandes que “n”.

El Límite es el Set de números racionales que se combinan tanto en Numeradores y Denominadores.

Para un numero primo “p”, siendo un subset de Q+ consistiendo de aquellos números racionales “x” cuya factorización tiene la forma [[File:Limite001.png|alt=Limite001.png|117x24px|Limite001.png]] con [[File:Limite002.png|alt=Limite002.png|83x22px|Limite002.png]] forman un subgrupo de (Q+).

Decimos entonces que una escala o Sistema de Afinación utiliza una entonación dentro el Limite “p” si todos los Radios entre tonos se mantienen dentro este subgrupo.

Serían 1:1 y 2:1 el LIMITE 2

sea, añadiendo, 3:1, 3:2, 4:1 y 4:3 al LIMITE 3 (4 entra porque equivale a 2:1 octavado)

1:1 = unísono, primo perfecto

2:1 = octava

3:1 = 12va perfecta

3:2 = quinta perfecta

4:1 = 2 octavas

4:3 = cuarta perfecta

Pero para poder hacer que un sistema funcione debe guardar o mejorar ciertas propiedades armónicas, como la de hacer acordes de tal o cual tipo, de poder modular a ciertas tonalidades con ciertas reglas, que todas las notas del sistema sean modulables, etc., y existen varias maneras organizar el material sonoro, en detalle de la afinación y entonación, pero para poder tener un sistema estable debemos pensar como alquimistas; creando tejidos de una materia en otro plano, hasta llegar a formar estructuras donde nuestra música encuentra sustento y libertad. Hay que saber pulir Diamantes.

Para un Límite 3 por ejemplo tendríamos un Diamante Tonal (se lee desde el extremo inferior izquierdo hacia el superior derecho) p

&lt;pre&gt;
[ 4:3 [ 3:3 ]

[ 1:1 ] 3:2 ]
&lt;/pre&gt;

Porque se anotan los dos números que conforman el Límite (nótese que el 2 no se toma en cuenta como primo ya q es una duplicidad del 1:1), 1 y 3 en este caso, entonces establecemos el centro del Diamante Tonal, donde todos los valores se refieren a 1:1 elevado a diferentes radios componentes del Diamante.

&lt;pre&gt;
... ... [ 3:3 ]

[ 1:1 ] ... ...
&lt;/pre&gt;

Para combinar 3 con 1, dentro la octava llevamos a 3:1 hasta 3:2, para mezclar hacia la octava baja la llevamos a 4:3 y tenemos todas las combinaciones posibles de un Diamante Tonal del Límite 3, que por cierto es muy deficiente en lo que a música respecta. Ahora pensemos en este ejemplo, 3:2 indica que el Radio, por 3, es una potencial Identidad en alguna tonalidad, que en este caso llamaríamos Odentidad, por estar 3 en el Numerador (por ejemplo diríamos que la Odentidad 5 de 3:2 es 5:2 o la Odentidad 9 de 8:7 es 9:7); así 2 indica que es, al mismo tiempo, una potencial Identidad de 1, en otra tonalidad, que llamamos Udentidad, por estar en el Denominador, (podemos decir que la Udentidad 5 de 7:4 es 7:5).

Así se desarrollan teorías, instrumentos y conocimiento para pensar estas notas, poco a poco llegando al LÍMITE 5, en el Renacimiento se llega al este Límite, y se lo desarrolla desde el Barroco hasta el Clasicismo en nivel teórico del temperamento. Siendo q conocemos q Bach escribió cada pieza del Clave Bien Temperado en cada uno de los tonos del piano, sabemos que ellos ya conocían las 12 notas que usamos hasta hoy, pero no de la misma manera. Recalco que estamos estudiando la manera que se tenía de afinar las consonancias principales, además decir q los Temperamentos como el método “pitagórico” de afinación lo veremos luego de entender bien la Entonación Justa, pues ya en el Barroco se hacen cambios importantes en lo q es Temperar los instrumentos, en especial de aquellos de tecla y cuerda trastada, como claves, harspicordios, laudes, bassos, etc.

Continuando y añadiendo, para llegar al LIMITE 5

5:1, 5:2, 5:3, 5:4, 6:1, 6:5 (como en el caso de 4, 6 se toma en cuenta pues es 3 octavado)

Vean que 6:2, equivale a 3:1, no se anota, 6:3 equivale a 2:1, así etc.!!!

5:1 = 17va mayor

5:2 = 10va mayor

5:3 = sexta mayor

5:4 = tercera mayor

6:1 = 19va perfecta

6:5 = tercera menor

Por su parte un Diamante Tonal del Límite 5 tendría un centro

&lt;pre&gt;
[ ... ... ... ...[ 3:3 ]

[ __ __ [ 5:5 ] ... ...]

[ 1:1 ] ... ... ... ...]
&lt;/pre&gt;

Porque al considerar la triada justa del Límite 5, que es 1:1 (tónica= 0Cents), 5:4 (tercera mayor= 400Cents), 3:2 (quinta justa= 700Cents), que se expresa 3:4:5, tenemos la combinación de la fila inferior horizontal (cada fila horizontal es una triada), y se organizan por altura musical. Así organizamos el centro, de abajo a arriba, 1:1, 5:5, 3:3, todos iguales a 1:1 !

&lt;pre&gt;
[ ... ... ... ...[ 3:3 ]

[ __ __ [ 5:5 ] ... ...]

[ 1:1  ]  5:4 ]    3:2 ]
&lt;/pre&gt;

Cada fila se calcula en base a Nexos Numéricos, esto quiere decir un número impar que comparten los Numeradores o Denominadores de una fila del Diamante sea vertical u horizontal.

Así en la fila central primero combinamos 5 con 1 en 5:8… 5 con 3 en 6:5.

&lt;pre&gt;
[ _:_ [ _:_ [ 3:3 ]

[ 8:5 [ 5:5 ] 6:5 ]

[ 1:1 ] 5:4 ] 3:2 ]
&lt;/pre&gt;

Para entender mejor las Identidades, podemos decir que en la Otonalidad de 8:5, 5 es el Nexo Numérico, dejando una secuencia de tres Odentidades hasta el Límite 5= 8:5, 5:5 y 6:5, , y tres más hasta el Límite 11= 7:5, 9:5 y 11:10. En la Utonalidad de 5:4, 5 también es el Nexo Numérico, dándonos seis Udentidades hasta el Límite 11= 5:4, 5:5, 5:3, 10:7, 10:9, 20:11. La Proporción Armónica a través de la historia puede ser asociada a la Otonalidad, desde que consideramos a los Parciales 1:1, 2:1, 3:1, 4:1, 5:1, etc., por su parte la partición de una cuerda en distancias materiales iguales (no distancias musicales), es la ancestral fuente de Utonalidad, esta Proporción Aritmética da como resultado la reversa de la Proporción Armónica o Serie de Parciales, 1:1, 1:2, 1:3, 1:4, 1:5, 1:6, etc., o cualquier partición material de la cuerda.

En la fila superior combinamos 3 con 1 en 4:3… 3 con 5 en 5:3.

&lt;pre&gt;
[ 4:3 [ 5:3 [ 3:3 ]

[ 8:5 [ 5:5 ] 6:5 ]

[ 1:1 ] 5:4 ] 3:2 ]
&lt;/pre&gt;

Nótese que las filas verticales forman triadas también. Las Identidades de los Radios q forman el Diamante son lo que llamamos, en el Sistema Tonal Occidental, modalidades “Mayor y menor”. La Otonalidad (Mayor) es una inmutable colección de Radios, que representa la inmutable capacidad del oído humano.

Recontemos todos los radios de los que hemos hablado:

1:1 = unísono, primo perfecto

2:1 = octava

3:1 = 12va perfecta

3:2 = quinta perfecta

4:1 = 2 octavas

4:3 = cuarta perfecta

5:1 = 17va mayor

5:2 = 10va mayor

5:3 = sexta mayor

5:4 = tercera mayor

6:1 = 19va perfecta

6:5 = tercera menor

Que si organizamos por altura musical y con Cents se ve:

1:1 = Fundamental = 0c

6:5 = tercera menor = 315,6412870005c

5:4 = tercera mayor = 386,3137138648c

4:3 = cuarta perfecta = 498,0449991346c

3:2 = quinta perfecta = 701,9550008654c

5:3 = sexta mayor = 884,3587129994c

2:1 = octava = 1200c

5:2 = 10va mayor = 1586,3137138648c

3:1 = 12va perfecta = 1901,9550008654c

5:1 = 17va mayor = 2786,3137138648c

6:1 = 19na mayor = 3101,9550008654c

Podemos decir que el patrón de la Utonalidad, es la reversa exacta de la Serie de Parciales. Como es el de la Otonalidad para la Escala Diatónica. Esto tiene que ver con la ya mencionada Serie de Sub-Armónicos, unido a la noción de utilización de la Relativa Menor, expresada 10:12:15; si la Diferencia de Tonos producida por esta triada equivoca las Consonancias, que sería la teoría que fundamente mejor la existencia de la sensación de Modalidad Menor, todavía es una polémica entre los teóricos, por ejemplo si la triada mayor es 1:1, 25:1 y 50, la menor poseerá 1:1, 20:1 y 50, sin embargo aunque los intervalos sean iguales en ambas escalas, el orden de sucesión difiere. Por el momento lo que más nos importa es la Utonalidad en Radios, como Complementariedad de la Otonalidad.

Según la teoría dualista de Hugo Riemann:

[[File:dualistaRiemann.png|alt=dualistaRiemann.png|267x133px|dualistaRiemann.png]]

Los Radios a la izquierda del Centro del Diamante son Complementariedades de los del lado derecho y se los considera por debajo 1:1, como inversiones.

&lt;pre&gt;
[ 4:3 [ 5:3 [

[ 8:5 [
&lt;/pre&gt;

El fenómeno de la tonalidad está primariamente establecido por la Triada, con las Identidades mostradas en el Diamante Tonal= 1, 5, 3, de los que salen cada una de las líneas que se combinan en diferentes Nexos Numéricos, que se expresan en la relación 4:5:6 (ascendente) para Otonalidades y en (1/4):(1/5):(1/6) para las Utonalidades. Si estipulamos tres Identidades para un determinado acorde, sea utilizando cada elemento como tónica llegado su momento, éstas nos darán la máxima consonancia del Sistema, esto está emparentado con la sensación psicológica de tonalidad que nos hace girar en torno al Centro del Diamante o Identidad 1:1.

Esto se vuelve más claro al pensar que los Radios complementarios (4:3, 5:3, 8:5) se encuentran en realidad abajo del alcance de 2:1 y se expresarían correctamente en el sentido acústico como

&lt;pre&gt;
[ 2:3 [ 5:3 [

[ 4:5 [
&lt;/pre&gt;

No olvidar, valga la redundancia, q son Radios Complementarios de:

&lt;pre&gt;
[ [ 3:3 ]

[ _ _ [ 5:5 ] 6:5 ]

[ 1:1 ] 5:4 ] 3:2 ]
&lt;/pre&gt;

Así hacia abajo desde 1:1 Utonalidad, la Udentidad 5 de tal tiene 4:5 de la vibración1:1, la Udentidad 3 tiene 2:3 de 1:1. Hacia arriba desde 1:1 Otonalidad, la Odentidad 5 tendrá 5:4 de 1:1, la Odentidad 3 tendrá 3:2 de la vibración fundamental 1:1. En cuestión de Otonalidad (mayor) nuestro incipiente Diamante Tonal no tiene nada extraño para quien conoce lo básico del estudio musical occidental, y es fácil ubicar que 3 siempre representa el grado Dominante de la escala, 5 representa el grado Mediante. En la Utonalidad (menor) la concepción es un poco diferente, desde que las identidades descienden de tono desde 1:1, aunque prácticamente los resultados son los mismos, la unidad es aquí la quinta del acorde, pero la gran controversia surge de la posición que se le da a la Fundamental.

La vista reversa de la Utonalidad puede considerarse como un mapa donde el sur es tomado como norte y viceversa, esto no impide el correcto funcionamiento del orden del Diamante.

No olvidemos que cada Radio tiene la revelación de sus Potencialidades. Cuando vemos 5:3, sabemos que 5 puede representar la 5 Odentidad (mediante) de una Otonalidad, y que 3 puede representar la 3 Udentidad (tónica de la relativa menor) en una Utonalidad. En 3:2 vemos inmediatamente el 3 capaz de ser 3 Odentidad (dominante) de una Otonalidad, el 1 (recordemos que 2 es una duplicidad de 1) en una Utonalidad.

Así un Radio debe ser pensado en dos sentidos principales, y uno de estos Radios, 1:1, debe ser pensado en seis sentidos, ya q se escribe tres veces (y cada Radio se piensa por dos).

Esta facultad del tono, la de servir en dos (o más) sentidos es primordial para la modulación en nivel teórico (pues no es del todo necesaria en sentido práctico)

Veamos las características de la escala que estamos manejando=

&lt;pre&gt;
Cents   –  Radio  –  Diferencia  –  Diferencia en cents

0 --------- 1:1 ---------------------------------------
--------------------------- 6:5 --------- 315.6 -------
315.6 ----- 6:5 ---------------------------------------
-------------------------- 25:24 --------- 70.7 -------
386.3 ----- 5:4 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
498.0 ----- 4:3 ---------------------------------------
--------------------------- 9:8 --------- 103.9 -------
702.0 ----- 3:2 ---------------------------------------
-------------------------- 10:9 --------- 182.4 -------
884.4 ----- 5:3 ---------------------------------------
--------------------------- 6:5 --------- 315.6 -------
1200 ------ 2:1 ---------------------------------------
&lt;/pre&gt;

Como vemos en una escala Límite 5, existen tres espacios significativos, dos de 315.6cents cada uno y otro espacio de 203.9Cents. Subdividiendo estas lagunas es posible, no sólo incrementar el número de grados de la escala, sino también el de tonalidades disponibles. Esto se hace con múltiplos de los Primos del Límite. Las diferencias entre Radios nos indican estas nuevas distancias, como entre 1:1 y 6:5 acomodamos los nuevos Radios 9:8, 10:9 y 16:15, así como entre 5:3 y 2:1 se añadirán 9:5, 15:8 y 16:9, y sacando la diferencia entre éstos podemos tener más y más nuevos Radios repartiéndose de manera simétrica.

&lt;pre&gt;
Cents   –  Radio   –   Diferencia – Diferencia en cents

0 --------- 1:1 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
111.7 ---- 16:15 --------------------------------------
-------------------------- 25:24 --------- 70.7 -------
182.4 ---- 10:9 ---------------------------------------
-------------------------- 81:80 --------- 21.5 -------
203.9 ----- 9:8 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
315.6 ----- 6:5 ---------------------------------------
-------------------------- 25:24 --------- 70.7 -------
386.3 ----- 5:4 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
498.0 ----- 4:3 ---------------------------------------
--------------------------- 9:8 --------- 103.9 -------
702.0 ----- 3:2 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
813.7 ----- 8:5 ---------------------------------------
-------------------------- 25:24 --------- 70.5 -------
884.4 ----- 5:3 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
996.1 ---- 16:9 ---------------------------------------
-------------------------- 81:80 --------- 21.5 -------
1017.6 ---- 9:5 ---------------------------------------
-------------------------- 25:24 --------- 70.7 -------
1088.3 --- 15:8 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
1200 ------ 2:1 ---------------------------------------
&lt;/pre&gt;

La cuestión de si el oído prefiere Radios compuestos de múltiplos de pequeños números primos, a un Radio de aproximadamente la misma distancia y números más pequeños pero con un primo más grande no se puede responder de manera categórica. Por ejemplo, de los intervalos 9:8 (203.9cents) y 8:7 (231.2cents), muy cercanos entre sí, considerando una relación melódica, el oído preferirá 9:8 en el que los números se encuentran dentro el Límite 3. Sin embargo 8:7 funciona de una manera muy interesante en la música arábiga, como sonoridad independiente, con armonía parcialmente dentro del Límite 7. La percepción de este intervalo como utilizable es un hecho cultural y un gusto adquirido.

Como involucran Radios de números múltiplos, las ocho nuevas tonalidades (cuatro Otonalidades y cuatro Utonalidades) dentro el Límite 5 serán llamadas Tonalidades Secundarias.

Otonalidad (hacia arriba)

&lt;pre&gt;
Odentidad 1   –    Odentidad 5   –   Odentidad 3

 3:2 ---------------- 15:8 ---------------- 9:8

 6:5 ----------------- 3:2 ---------------- 9:5

16:9 ---------------- 10:9----------------- 4:3

16:15 ---------------- 4:3 ---------------- 8:5

------------5:4-------------------6:5----------
&lt;/pre&gt;

En la Otonalidad secundaria 3:2, sabemos que 3 representa la Odentidad 1, entonces la Odentidad 5 debe ser 3*5=15 y la Odentidad 3*3=9. El Nexo Numérico de esta Otonalidad es 1.

En la Otonalidad 6:5, 6 representa la Odentidad 1, 6*5=30 es la Odentidad 5, 6*3=18 la Odentidad 3. El Nexo Numérico de esta Otonalidad es 5. Se expresa mejor como 6:5, 30:20, 18:10.

Utonalidad (hacia abajo)

&lt;pre&gt;
Udentidad 1   –    Udentidad 5   –  Udentidad 3

 4:3 ----------------- 16:15 ------------- 16:9

 5:3 ------------------ 4:3 -------------- 10:9

 9:8 ------------------ 9:5 --------------- 3:2

15:8 ------------------ 3:2 --------------- 5:4

------------5:4------------------6:5-----------
&lt;/pre&gt;

En la Utonalidad bajo 15:8, sabemos que 8 representa la Udentidad 1, 8*5=40 es la Udentidad 5 y 8*3=24 es la Udentidad 3. El Nexo Numérico es 15. Se expresa mejor como 15:8, 60:40 y 30:24.

Los intervalos entre Identidades son siempre 5:4 y 6:5, hacia arriba para Otonalidades, descendiendo para Utonalidades. Como ejemplo, la Otonalidad 16:15 elevada 5:4 es (16:15)*(5:4)=80:60=4:3 y 4:3 elevado 6:5 es (4:3)*(6:5)=24:15=8:5. En la Utonalidad 15:8 descendida 5:4 es (15:8)*(4:5)=60:40=3:2 y 3:2 descendida 6:5 es (3:2)*(5:6)=15:12=5:4.

Dos posibles triadas secundarias se vuelven disponibles si insertamos 25:24 entre 1:1 y 16:15 y su complemento 48:25, que va entre 15:8 y 2:1, ambos Radios teniendo múltiplos dentro el Límite 5.

El Diamante Tonal no es nada más que un mapa conceptual de las acciones sonoras posibles y aceptadas, ideada por el Compositor y Teórico norteamericano Harry Partch, a este tipo de graficaciones le llamamos Entramado.

A Pesar que Partch presenta la Otonalidad y Utonalidad como conceptos simétricos, esto sólo se da en un nivel teórico, pues cuando se toca una Otonalidad en el plano material, ésta se percibe más consonante que su similar Utonalidad debido a la presencia del efecto de la Fundamental Perdida. En una Otonalidad, todas las notas son elementos de la Serie Armónica, así que activan la presencia de la Fundamental Perdida aunque sean armónicos de un tono complejo. Los acordes Utonales, aunque contienen las mismas diadas que los acordes Otonales, no tienden a activar el este fenómeno tan fuertemente.

Ya desde los desarrollos pitagóricos, se tendía a utilizar la distribución de los Radios en proporciones simples y emparentadas, un ejemplo de esto es el Lambdoma, que se logra con una distribución de los Radios desde 1 u otro número, de arriba a abajo, como centro del Diamante Lambdoma.

&lt;pre&gt;
[ 1:1 ]

[ ... ... [ 1:1 ]

[ ... ... ... ... [ 1:1 ]
&lt;/pre&gt;

Hacia abajo se desenvuelven Radios en un orden numérico libre, la línea vertical con Radios descendentes y la horizontal con Radios ascendentes.

&lt;pre&gt;
[ 1:1 ] 2:1 ] 3:1 ]

[ 1:2 [ 1:1 ] ... ...

[ 1:3 [ ... ... [ 1:1 ]
&lt;/pre&gt;

Seguidamente se combinan los Radios intermedios, por ejemplo en la segunda línea horizontal, mezclamos 3 con 2, obteniendo 3:2, así como en la tercera fila mezclamos 2 con 3, obteniendo 2:3.

&lt;pre&gt;
[ 1:1 ] 2:1 ] 3:1 ]

[ 1:2 [ 1:1 ] 3:2 ]

[ 1:3 [ 2:3 [ 1:1 ]
&lt;/pre&gt;

Esto es un Lambdoma hasta el Límite 3. Podemos extendernos un poco más y tener una tabla incluyendo el número 4, que es duplicidad de 2, así como 2 es duplicidad de 1. Mezclando 2 y 4, obtenemos 2:4=1:2, lo mismo para su contraparte ascendente 4:2=2:1.

&lt;pre&gt;
[ 1:1 ] 2:1 ] 3:1 ] 4:1 ]

[ 1:2 [ 1:1 ] 3:2 ] 2:1 ]

[ 1:3 [ 2:3 [ 1:1 ] 4:3 ]

[ 1:4 [ 1:2 [ 3:4 [ 1:1 ]
&lt;/pre&gt;

Hay que recalcar que Pitágoras no dejó ningún escrito y la mayoría de los datos que sabemos de él se escribieron más de cien años después de su muerte, sin embargo sabemos de la existencia del Lambdoma o Tabla Pitagórica por la tradición musical y matemática que se manejó en Grecia durante siglos, atribuída al mismo.

[[file:monocordio.jpg]]

Robert Fludd – Utriusque Cosmi Historia – El instrumento está dividido en una octava superior, ideal, activa, y una octava inferior, material, pasiva. Ambas octavas se dividen a su vez en cuartas y quintas. El principio inmaterial superior se mueve a lo largo de los intervalos hasta la materia sombría, y el sol, en el punto de intersección, recibe una fuerza transformadora (Alexander Roob, Alquimia y Mística, Taschen 1997).</text>
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      <id>199</id>
      <parentid>198</parentid>
      <timestamp>2018-10-01T18:57:42Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
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      <comment>1 revisión importada: Imported Spanish pages from En</comment>
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      <text bytes="27086" sha1="gjo95ogmjj0aqzp9tgi01uzx52hmwsz" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[:de:Reine_Stimmungen|Deutsch ]]- [[Just_intonation|English]]&lt;/span&gt;

Todo Sonido tiene una Fundamental, que es un Tono Puro y un recubrimiento de Parciales, que son ondas proporcionales de la nota fundamental en porciones más o menos armónicas q otras. Todos los Parciales pueden vibrar de cualquier manera, pero nuestra necesidad de medición aprecia su representación por medio de fracciones proporcionales, expresadas por Radios. Ahora cabe decir, q dentro de cualquier sonido se encuentra la posibilidad de todos los sonidos, ya que la onda, en su naturaleza varía siempre, incluso un Tono Puro, al chocar con objetos o entrar al conducto auditivo externo e interno, ya sufre de cambios que le dan débiles parciales de manera pseudo-aleatorea, obviamente esto no se siente de una manera clara; así podemos pensar que todo sonido puede ser tratado (sintetizado) para adquirir el timbre de cualquier otro, sea como el átomo q hace variar la materia según su número de electrones y características en los nucleones. Las relaciones existentes en el sonido pueden expresarse mediante Radios.

Los '''Radios''' son la manera que tenemos de expresar las proporciones que se tocan de una cuerda, entendiendo así las vibraciones de los Parciales y Armónicos que se dan en razón de dichas proporciones. Se tiene el criterio de que mientras más simple la relación de variables de un Radio, más consonante será al oído humano, aunque esto no siempre se cumple en la práctica. Lo q estudiamos por el momento es la proporcionalidad de un monocordio afinado a ''X'' Hz; anotaremos los RADIOS con el valor mayor primero, o sea en el Numerador (p.Ej 10:7 indica q se divide la cuerda en 10 partes materiales iguales de la cuerda y se tocaban 7 de éstas).

Imaginemos una cuerda. La cuerda se divide en porciones materialmente equitativas marcadas “.”, se ve cortada por una navaja “i”, el lado derecho de la cuerda interrumpida por “i” es el que suena.

&lt;pre&gt;
I------------------------I  1:1

I-----------i------------I  2:1

I-------.-------i--------I  3:1

I-------i-------.--------I  3:2

I-----.-----.-----i------I  4:1

I----.----.----.----i----I  5:1
&lt;/pre&gt;

Así aclararemos rápidamente de los Armónicos, el armónico segundo, es una octava simple, pero el tercero 3:1 se presenta junto a 3:2 para que entre dentro la octava, el cuarto repite más octavas, el quinto 5:1 estará junto a 5:4, etc., esto porque 3:1, 4:1, 5:1 y en adelante no se escuchan realmente, mientras más alto el Armónico menos perceptible para nuestro oído, pero nos da la ilusión de escucharse dentro el timbre, 3:1 como 3:2, 5:1 como 5:4, 7:1 como 7:6, etc., valga reconocer que desde el Sexto Armónico nos dan notas más excéntricas para el Sistema Occidental. Así viendo una cuerda vibrar podríamos darnos cuenta que en efecto 3:1, 3:2, 4:1, 4:3, 5:1, 5:2, 5:3, 5:4, etc., coexisten de varias maneras. Recordemos q recién tuvimos un acercamiento material a este fenómeno para su mejor comprensión a finales del siglo XX, por medio de la creación de cámaras microscópicas 3D de alta velocidad, al filmar una cuerda vibrar, al día de hoy recién vamos desentrañando realidades acerca de la onda sonora.

Debemos pensar también en que, si queremos octavar un radio se lo multiplica por 2, sea hacia arriba 2:1 o hacia abajo 1:2, por ejemplo 5:2 se octava hacia abajo y da 5:4, hacia arriba da 10:2=5:1. Así se puede transportar cualquier tono un número “n” de octavas, arriba=Tono*(2^n) ó abajo=Tono*((1/2)^n), a este principio le llamamos Equivalencia de Octava. La '''Equivalencia de Octava''' dice que cualquier Frecuencia, cualquier fenómeno periódico, puede ser transportado al espectro audible humano, teniendo un tono musical análogo al fenómeno en cuestión, (1/Periodo)*(2^n) = Frecuencia*(2^n) = Frecuencia Transpuesta a Hz. Así podemos calcular que nuestro rango auditivo estándar es (2^5 … 2^15)Hz, aproximadamente 10 octavas; 8 octavas debajo de este rango se encuentran las frecuencias que sentimos como Tempo y Ritmo, normalmente medido en Beats por Minuto (BPM).

Si la cuerda entera, 1:1, emite 100Hz, entonces 2:1 emitirá 200Hz, 3:1 emitirá 300Hz, etc.

Fijarse en “ / ”

&lt;pre&gt;
I--------i--------/--------I  3:1

I------------i---./---.---.I  2:1 * 3:2 = 6:2 = 3:1
&lt;/pre&gt;

Esto nos indica la '''Ley del Círculo Sonoro''', primero porque las notas octavadas, hacia arriba o abajo, siempre las sentiremos como la misma nota a pesar de su altura: segundo, porque las características del timbre hacen sentir los Armónicos en una altura abstracta, pues no los escuchamos como independientes. Todo Radio implica, al menos dos relaciones, la del Numerador del Radio, que en su forma Impar representa una Identidad vibracional en una tonalidad dada (Utonalidad), la del Denominador, que en su forma Impar representa una Identidad vibracional en otra tonalidad (Otonalidad). Sin importar su expresión en Radio, estas Identidades se consideran números impares. Es sorprendente que al escuchar 2:1, inmediatamente reconozcamos una nota ajena a 1:1, pero no podamos diferenciar su Identidad, es la misma vibración al doble de velocidad, pero nosotros no sabemos eso, sabemos que es el “mismo tono más arriba”, el que se multiplique la velocidad, a nuestro oído cambia la altura, pero no la sensación de Identidad.

La '''Identidad''' en la música es cada uno de los números impares por debajo (e incluyendo) el Límite impar de los radios de un temperamento. Por ejemplo las Identidades incluidas en el Límite 5 son 1, 3 y 5. Cada número impar representa un nuevo tono en la Serie Armónica. Sin embargo, el número 9 por ejemplo, a pesar de no ser un primo, constituye una Identidad, sólo por ser impar.

    Nota:  '''C'''  C  '''G'''  C  '''E'''  G  '''B'''  C  '''D'''   E   '''F'''   G ...

 Parcial:  '''1'''  2  '''3'''  4  '''5'''  6  '''7'''  8  '''9'''  10  '''11'''  12 ...

Y así, cada armónico se aleja de la consonancia, poco a poco entrando a la disonancia, lo q pasa es q mientras más complejo el Radio más disonante lo sentirá el oído del hombre; por ejemplo 10:7, es más difícil de procesar para el cerebro que 3:2, entonces percibimos 10:7 como “más disonante”, obviamente este es un proceso de comparación entre vibraciones y numerosos estudios etnomusicológicos avalan que mucho de nuestro gusto por tales o cuales Radios no es más que un gusto adquirido.

Ok, ahora pensemos momentáneamente en base al pianoforte actual: Do0 con respecto a Do1 se expresa en un RADIO de 2/1, con 1200cents; Do0 y Do2 se expresa en un radio de 4/1, con 2400cents; sabemos q eso es por q la mitad de una cuerda es la octava del tono q la cuerda hace entera, cuando tocamos un cuarto de la cuerda oímos el sonido fundamental dos octavas arriba. Así se cumplen los RADIOS 2/1 y 4/1, sus 8/1, 16/1. Do0 y Sol1 se expresan con el radio 3/1, es la doceava, con 1901.955cents. Ahora 5/1 es una diecisieteava mayor, eso quiere decir q si tocamos un quinto de una cuerda tenemos el sonido de dos octavas y una tercera mayor con respecto a la fundamental; sea Do0 y Mi2 se expresan con el radio 5/1, con 2786.31371cents,

y bueno, notarán q hemos dicho 2:1, 3:1, 4:1 y 5:1, podemos desarrollar por Ley de Armónicos 3:2, 4:3, 5:4, etc., pero lo q nos mueve hoy es ir por '''Límites''', eso significa ir de primo en primo: Para un Número Primo “n”, el Límite “n” contiene todos los números racionales que pueden ser combinados en Radios, utilizando números no más grandes que “n”.

El Límite es el Set de números racionales que se combinan tanto en Numeradores y Denominadores.

Para un numero primo “p”, siendo un subset de Q+ consistiendo de aquellos números racionales “x” cuya factorización tiene la forma [[File:Limite001.png|alt=Limite001.png|117x24px|Limite001.png]] con [[File:Limite002.png|alt=Limite002.png|83x22px|Limite002.png]] forman un subgrupo de (Q+).

Decimos entonces que una escala o Sistema de Afinación utiliza una entonación dentro el Limite “p” si todos los Radios entre tonos se mantienen dentro este subgrupo.

Serían 1:1 y 2:1 el LIMITE 2

sea, añadiendo, 3:1, 3:2, 4:1 y 4:3 al LIMITE 3 (4 entra porque equivale a 2:1 octavado)

1:1 = unísono, primo perfecto

2:1 = octava

3:1 = 12va perfecta

3:2 = quinta perfecta

4:1 = 2 octavas

4:3 = cuarta perfecta

Pero para poder hacer que un sistema funcione debe guardar o mejorar ciertas propiedades armónicas, como la de hacer acordes de tal o cual tipo, de poder modular a ciertas tonalidades con ciertas reglas, que todas las notas del sistema sean modulables, etc., y existen varias maneras organizar el material sonoro, en detalle de la afinación y entonación, pero para poder tener un sistema estable debemos pensar como alquimistas; creando tejidos de una materia en otro plano, hasta llegar a formar estructuras donde nuestra música encuentra sustento y libertad. Hay que saber pulir Diamantes.

Para un Límite 3 por ejemplo tendríamos un Diamante Tonal (se lee desde el extremo inferior izquierdo hacia el superior derecho) p

&lt;pre&gt;
[ 4:3 [ 3:3 ]

[ 1:1 ] 3:2 ]
&lt;/pre&gt;

Porque se anotan los dos números que conforman el Límite (nótese que el 2 no se toma en cuenta como primo ya q es una duplicidad del 1:1), 1 y 3 en este caso, entonces establecemos el centro del Diamante Tonal, donde todos los valores se refieren a 1:1 elevado a diferentes radios componentes del Diamante.

&lt;pre&gt;
... ... [ 3:3 ]

[ 1:1 ] ... ...
&lt;/pre&gt;

Para combinar 3 con 1, dentro la octava llevamos a 3:1 hasta 3:2, para mezclar hacia la octava baja la llevamos a 4:3 y tenemos todas las combinaciones posibles de un Diamante Tonal del Límite 3, que por cierto es muy deficiente en lo que a música respecta. Ahora pensemos en este ejemplo, 3:2 indica que el Radio, por 3, es una potencial Identidad en alguna tonalidad, que en este caso llamaríamos Odentidad, por estar 3 en el Numerador (por ejemplo diríamos que la Odentidad 5 de 3:2 es 5:2 o la Odentidad 9 de 8:7 es 9:7); así 2 indica que es, al mismo tiempo, una potencial Identidad de 1, en otra tonalidad, que llamamos Udentidad, por estar en el Denominador, (podemos decir que la Udentidad 5 de 7:4 es 7:5).

Así se desarrollan teorías, instrumentos y conocimiento para pensar estas notas, poco a poco llegando al LÍMITE 5, en el Renacimiento se llega al este Límite, y se lo desarrolla desde el Barroco hasta el Clasicismo en nivel teórico del temperamento. Siendo q conocemos q Bach escribió cada pieza del Clave Bien Temperado en cada uno de los tonos del piano, sabemos que ellos ya conocían las 12 notas que usamos hasta hoy, pero no de la misma manera. Recalco que estamos estudiando la manera que se tenía de afinar las consonancias principales, además decir q los Temperamentos como el método “pitagórico” de afinación lo veremos luego de entender bien la Entonación Justa, pues ya en el Barroco se hacen cambios importantes en lo q es Temperar los instrumentos, en especial de aquellos de tecla y cuerda trastada, como claves, harspicordios, laudes, bassos, etc.

Continuando y añadiendo, para llegar al LIMITE 5

5:1, 5:2, 5:3, 5:4, 6:1, 6:5 (como en el caso de 4, 6 se toma en cuenta pues es 3 octavado)

Vean que 6:2, equivale a 3:1, no se anota, 6:3 equivale a 2:1, así etc.!!!

5:1 = 17va mayor

5:2 = 10va mayor

5:3 = sexta mayor

5:4 = tercera mayor

6:1 = 19va perfecta

6:5 = tercera menor

Por su parte un Diamante Tonal del Límite 5 tendría un centro

&lt;pre&gt;
[ ... ... ... ...[ 3:3 ]

[ __ __ [ 5:5 ] ... ...]

[ 1:1 ] ... ... ... ...]
&lt;/pre&gt;

Porque al considerar la triada justa del Límite 5, que es 1:1 (tónica= 0Cents), 5:4 (tercera mayor= 400Cents), 3:2 (quinta justa= 700Cents), que se expresa 3:4:5, tenemos la combinación de la fila inferior horizontal (cada fila horizontal es una triada), y se organizan por altura musical. Así organizamos el centro, de abajo a arriba, 1:1, 5:5, 3:3, todos iguales a 1:1 !

&lt;pre&gt;
[ ... ... ... ...[ 3:3 ]

[ __ __ [ 5:5 ] ... ...]

[ 1:1  ]  5:4 ]    3:2 ]
&lt;/pre&gt;

Cada fila se calcula en base a Nexos Numéricos, esto quiere decir un número impar que comparten los Numeradores o Denominadores de una fila del Diamante sea vertical u horizontal.

Así en la fila central primero combinamos 5 con 1 en 5:8… 5 con 3 en 6:5.

&lt;pre&gt;
[ _:_ [ _:_ [ 3:3 ]

[ 8:5 [ 5:5 ] 6:5 ]

[ 1:1 ] 5:4 ] 3:2 ]
&lt;/pre&gt;

Para entender mejor las Identidades, podemos decir que en la Otonalidad de 8:5, 5 es el Nexo Numérico, dejando una secuencia de tres Odentidades hasta el Límite 5= 8:5, 5:5 y 6:5, , y tres más hasta el Límite 11= 7:5, 9:5 y 11:10. En la Utonalidad de 5:4, 5 también es el Nexo Numérico, dándonos seis Udentidades hasta el Límite 11= 5:4, 5:5, 5:3, 10:7, 10:9, 20:11. La Proporción Armónica a través de la historia puede ser asociada a la Otonalidad, desde que consideramos a los Parciales 1:1, 2:1, 3:1, 4:1, 5:1, etc., por su parte la partición de una cuerda en distancias materiales iguales (no distancias musicales), es la ancestral fuente de Utonalidad, esta Proporción Aritmética da como resultado la reversa de la Proporción Armónica o Serie de Parciales, 1:1, 1:2, 1:3, 1:4, 1:5, 1:6, etc., o cualquier partición material de la cuerda.

En la fila superior combinamos 3 con 1 en 4:3… 3 con 5 en 5:3.

&lt;pre&gt;
[ 4:3 [ 5:3 [ 3:3 ]

[ 8:5 [ 5:5 ] 6:5 ]

[ 1:1 ] 5:4 ] 3:2 ]
&lt;/pre&gt;

Nótese que las filas verticales forman triadas también. Las Identidades de los Radios q forman el Diamante son lo que llamamos, en el Sistema Tonal Occidental, modalidades “Mayor y menor”. La Otonalidad (Mayor) es una inmutable colección de Radios, que representa la inmutable capacidad del oído humano.

Recontemos todos los radios de los que hemos hablado:

1:1 = unísono, primo perfecto

2:1 = octava

3:1 = 12va perfecta

3:2 = quinta perfecta

4:1 = 2 octavas

4:3 = cuarta perfecta

5:1 = 17va mayor

5:2 = 10va mayor

5:3 = sexta mayor

5:4 = tercera mayor

6:1 = 19va perfecta

6:5 = tercera menor

Que si organizamos por altura musical y con Cents se ve:

1:1 = Fundamental = 0c

6:5 = tercera menor = 315,6412870005c

5:4 = tercera mayor = 386,3137138648c

4:3 = cuarta perfecta = 498,0449991346c

3:2 = quinta perfecta = 701,9550008654c

5:3 = sexta mayor = 884,3587129994c

2:1 = octava = 1200c

5:2 = 10va mayor = 1586,3137138648c

3:1 = 12va perfecta = 1901,9550008654c

5:1 = 17va mayor = 2786,3137138648c

6:1 = 19na mayor = 3101,9550008654c

Podemos decir que el patrón de la Utonalidad, es la reversa exacta de la Serie de Parciales. Como es el de la Otonalidad para la Escala Diatónica. Esto tiene que ver con la ya mencionada Serie de Sub-Armónicos, unido a la noción de utilización de la Relativa Menor, expresada 10:12:15; si la Diferencia de Tonos producida por esta triada equivoca las Consonancias, que sería la teoría que fundamente mejor la existencia de la sensación de Modalidad Menor, todavía es una polémica entre los teóricos, por ejemplo si la triada mayor es 1:1, 25:1 y 50, la menor poseerá 1:1, 20:1 y 50, sin embargo aunque los intervalos sean iguales en ambas escalas, el orden de sucesión difiere. Por el momento lo que más nos importa es la Utonalidad en Radios, como Complementariedad de la Otonalidad.

Según la teoría dualista de Hugo Riemann:

[[File:dualistaRiemann.png|alt=dualistaRiemann.png|267x133px|dualistaRiemann.png]]

Los Radios a la izquierda del Centro del Diamante son Complementariedades de los del lado derecho y se los considera por debajo 1:1, como inversiones.

&lt;pre&gt;
[ 4:3 [ 5:3 [

[ 8:5 [
&lt;/pre&gt;

El fenómeno de la tonalidad está primariamente establecido por la Triada, con las Identidades mostradas en el Diamante Tonal= 1, 5, 3, de los que salen cada una de las líneas que se combinan en diferentes Nexos Numéricos, que se expresan en la relación 4:5:6 (ascendente) para Otonalidades y en (1/4):(1/5):(1/6) para las Utonalidades. Si estipulamos tres Identidades para un determinado acorde, sea utilizando cada elemento como tónica llegado su momento, éstas nos darán la máxima consonancia del Sistema, esto está emparentado con la sensación psicológica de tonalidad que nos hace girar en torno al Centro del Diamante o Identidad 1:1.

Esto se vuelve más claro al pensar que los Radios complementarios (4:3, 5:3, 8:5) se encuentran en realidad abajo del alcance de 2:1 y se expresarían correctamente en el sentido acústico como

&lt;pre&gt;
[ 2:3 [ 5:3 [

[ 4:5 [
&lt;/pre&gt;

No olvidar, valga la redundancia, q son Radios Complementarios de:

&lt;pre&gt;
[ [ 3:3 ]

[ _ _ [ 5:5 ] 6:5 ]

[ 1:1 ] 5:4 ] 3:2 ]
&lt;/pre&gt;

Así hacia abajo desde 1:1 Utonalidad, la Udentidad 5 de tal tiene 4:5 de la vibración1:1, la Udentidad 3 tiene 2:3 de 1:1. Hacia arriba desde 1:1 Otonalidad, la Odentidad 5 tendrá 5:4 de 1:1, la Odentidad 3 tendrá 3:2 de la vibración fundamental 1:1. En cuestión de Otonalidad (mayor) nuestro incipiente Diamante Tonal no tiene nada extraño para quien conoce lo básico del estudio musical occidental, y es fácil ubicar que 3 siempre representa el grado Dominante de la escala, 5 representa el grado Mediante. En la Utonalidad (menor) la concepción es un poco diferente, desde que las identidades descienden de tono desde 1:1, aunque prácticamente los resultados son los mismos, la unidad es aquí la quinta del acorde, pero la gran controversia surge de la posición que se le da a la Fundamental.

La vista reversa de la Utonalidad puede considerarse como un mapa donde el sur es tomado como norte y viceversa, esto no impide el correcto funcionamiento del orden del Diamante.

No olvidemos que cada Radio tiene la revelación de sus Potencialidades. Cuando vemos 5:3, sabemos que 5 puede representar la 5 Odentidad (mediante) de una Otonalidad, y que 3 puede representar la 3 Udentidad (tónica de la relativa menor) en una Utonalidad. En 3:2 vemos inmediatamente el 3 capaz de ser 3 Odentidad (dominante) de una Otonalidad, el 1 (recordemos que 2 es una duplicidad de 1) en una Utonalidad.

Así un Radio debe ser pensado en dos sentidos principales, y uno de estos Radios, 1:1, debe ser pensado en seis sentidos, ya q se escribe tres veces (y cada Radio se piensa por dos).

Esta facultad del tono, la de servir en dos (o más) sentidos es primordial para la modulación en nivel teórico (pues no es del todo necesaria en sentido práctico)

Veamos las características de la escala que estamos manejando=

&lt;pre&gt;
Cents   –  Radio  –  Diferencia  –  Diferencia en cents

0 --------- 1:1 ---------------------------------------
--------------------------- 6:5 --------- 315.6 -------
315.6 ----- 6:5 ---------------------------------------
-------------------------- 25:24 --------- 70.7 -------
386.3 ----- 5:4 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
498.0 ----- 4:3 ---------------------------------------
--------------------------- 9:8 --------- 103.9 -------
702.0 ----- 3:2 ---------------------------------------
-------------------------- 10:9 --------- 182.4 -------
884.4 ----- 5:3 ---------------------------------------
--------------------------- 6:5 --------- 315.6 -------
1200 ------ 2:1 ---------------------------------------
&lt;/pre&gt;

Como vemos en una escala Límite 5, existen tres espacios significativos, dos de 315.6cents cada uno y otro espacio de 203.9Cents. Subdividiendo estas lagunas es posible, no sólo incrementar el número de grados de la escala, sino también el de tonalidades disponibles. Esto se hace con múltiplos de los Primos del Límite. Las diferencias entre Radios nos indican estas nuevas distancias, como entre 1:1 y 6:5 acomodamos los nuevos Radios 9:8, 10:9 y 16:15, así como entre 5:3 y 2:1 se añadirán 9:5, 15:8 y 16:9, y sacando la diferencia entre éstos podemos tener más y más nuevos Radios repartiéndose de manera simétrica.

&lt;pre&gt;
Cents   –  Radio   –   Diferencia – Diferencia en cents

0 --------- 1:1 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
111.7 ---- 16:15 --------------------------------------
-------------------------- 25:24 --------- 70.7 -------
182.4 ---- 10:9 ---------------------------------------
-------------------------- 81:80 --------- 21.5 -------
203.9 ----- 9:8 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
315.6 ----- 6:5 ---------------------------------------
-------------------------- 25:24 --------- 70.7 -------
386.3 ----- 5:4 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
498.0 ----- 4:3 ---------------------------------------
--------------------------- 9:8 --------- 103.9 -------
702.0 ----- 3:2 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
813.7 ----- 8:5 ---------------------------------------
-------------------------- 25:24 --------- 70.5 -------
884.4 ----- 5:3 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
996.1 ---- 16:9 ---------------------------------------
-------------------------- 81:80 --------- 21.5 -------
1017.6 ---- 9:5 ---------------------------------------
-------------------------- 25:24 --------- 70.7 -------
1088.3 --- 15:8 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
1200 ------ 2:1 ---------------------------------------
&lt;/pre&gt;

La cuestión de si el oído prefiere Radios compuestos de múltiplos de pequeños números primos, a un Radio de aproximadamente la misma distancia y números más pequeños pero con un primo más grande no se puede responder de manera categórica. Por ejemplo, de los intervalos 9:8 (203.9cents) y 8:7 (231.2cents), muy cercanos entre sí, considerando una relación melódica, el oído preferirá 9:8 en el que los números se encuentran dentro el Límite 3. Sin embargo 8:7 funciona de una manera muy interesante en la música arábiga, como sonoridad independiente, con armonía parcialmente dentro del Límite 7. La percepción de este intervalo como utilizable es un hecho cultural y un gusto adquirido.

Como involucran Radios de números múltiplos, las ocho nuevas tonalidades (cuatro Otonalidades y cuatro Utonalidades) dentro el Límite 5 serán llamadas Tonalidades Secundarias.

Otonalidad (hacia arriba)

&lt;pre&gt;
Odentidad 1   –    Odentidad 5   –   Odentidad 3

 3:2 ---------------- 15:8 ---------------- 9:8

 6:5 ----------------- 3:2 ---------------- 9:5

16:9 ---------------- 10:9----------------- 4:3

16:15 ---------------- 4:3 ---------------- 8:5

------------5:4-------------------6:5----------
&lt;/pre&gt;

En la Otonalidad secundaria 3:2, sabemos que 3 representa la Odentidad 1, entonces la Odentidad 5 debe ser 3*5=15 y la Odentidad 3*3=9. El Nexo Numérico de esta Otonalidad es 1.

En la Otonalidad 6:5, 6 representa la Odentidad 1, 6*5=30 es la Odentidad 5, 6*3=18 la Odentidad 3. El Nexo Numérico de esta Otonalidad es 5. Se expresa mejor como 6:5, 30:20, 18:10.

Utonalidad (hacia abajo)

&lt;pre&gt;
Udentidad 1   –    Udentidad 5   –  Udentidad 3

 4:3 ----------------- 16:15 ------------- 16:9

 5:3 ------------------ 4:3 -------------- 10:9

 9:8 ------------------ 9:5 --------------- 3:2

15:8 ------------------ 3:2 --------------- 5:4

------------5:4------------------6:5-----------
&lt;/pre&gt;

En la Utonalidad bajo 15:8, sabemos que 8 representa la Udentidad 1, 8*5=40 es la Udentidad 5 y 8*3=24 es la Udentidad 3. El Nexo Numérico es 15. Se expresa mejor como 15:8, 60:40 y 30:24.

Los intervalos entre Identidades son siempre 5:4 y 6:5, hacia arriba para Otonalidades, descendiendo para Utonalidades. Como ejemplo, la Otonalidad 16:15 elevada 5:4 es (16:15)*(5:4)=80:60=4:3 y 4:3 elevado 6:5 es (4:3)*(6:5)=24:15=8:5. En la Utonalidad 15:8 descendida 5:4 es (15:8)*(4:5)=60:40=3:2 y 3:2 descendida 6:5 es (3:2)*(5:6)=15:12=5:4.

Dos posibles triadas secundarias se vuelven disponibles si insertamos 25:24 entre 1:1 y 16:15 y su complemento 48:25, que va entre 15:8 y 2:1, ambos Radios teniendo múltiplos dentro el Límite 5.

El Diamante Tonal no es nada más que un mapa conceptual de las acciones sonoras posibles y aceptadas, ideada por el Compositor y Teórico norteamericano Harry Partch, a este tipo de graficaciones le llamamos Entramado.

A Pesar que Partch presenta la Otonalidad y Utonalidad como conceptos simétricos, esto sólo se da en un nivel teórico, pues cuando se toca una Otonalidad en el plano material, ésta se percibe más consonante que su similar Utonalidad debido a la presencia del efecto de la Fundamental Perdida. En una Otonalidad, todas las notas son elementos de la Serie Armónica, así que activan la presencia de la Fundamental Perdida aunque sean armónicos de un tono complejo. Los acordes Utonales, aunque contienen las mismas diadas que los acordes Otonales, no tienden a activar el este fenómeno tan fuertemente.

Ya desde los desarrollos pitagóricos, se tendía a utilizar la distribución de los Radios en proporciones simples y emparentadas, un ejemplo de esto es el Lambdoma, que se logra con una distribución de los Radios desde 1 u otro número, de arriba a abajo, como centro del Diamante Lambdoma.

&lt;pre&gt;
[ 1:1 ]

[ ... ... [ 1:1 ]

[ ... ... ... ... [ 1:1 ]
&lt;/pre&gt;

Hacia abajo se desenvuelven Radios en un orden numérico libre, la línea vertical con Radios descendentes y la horizontal con Radios ascendentes.

&lt;pre&gt;
[ 1:1 ] 2:1 ] 3:1 ]

[ 1:2 [ 1:1 ] ... ...

[ 1:3 [ ... ... [ 1:1 ]
&lt;/pre&gt;

Seguidamente se combinan los Radios intermedios, por ejemplo en la segunda línea horizontal, mezclamos 3 con 2, obteniendo 3:2, así como en la tercera fila mezclamos 2 con 3, obteniendo 2:3.

&lt;pre&gt;
[ 1:1 ] 2:1 ] 3:1 ]

[ 1:2 [ 1:1 ] 3:2 ]

[ 1:3 [ 2:3 [ 1:1 ]
&lt;/pre&gt;

Esto es un Lambdoma hasta el Límite 3. Podemos extendernos un poco más y tener una tabla incluyendo el número 4, que es duplicidad de 2, así como 2 es duplicidad de 1. Mezclando 2 y 4, obtenemos 2:4=1:2, lo mismo para su contraparte ascendente 4:2=2:1.

&lt;pre&gt;
[ 1:1 ] 2:1 ] 3:1 ] 4:1 ]

[ 1:2 [ 1:1 ] 3:2 ] 2:1 ]

[ 1:3 [ 2:3 [ 1:1 ] 4:3 ]

[ 1:4 [ 1:2 [ 3:4 [ 1:1 ]
&lt;/pre&gt;

Hay que recalcar que Pitágoras no dejó ningún escrito y la mayoría de los datos que sabemos de él se escribieron más de cien años después de su muerte, sin embargo sabemos de la existencia del Lambdoma o Tabla Pitagórica por la tradición musical y matemática que se manejó en Grecia durante siglos, atribuída al mismo.

[[file:monocordio.jpg]]

Robert Fludd – Utriusque Cosmi Historia – El instrumento está dividido en una octava superior, ideal, activa, y una octava inferior, material, pasiva. Ambas octavas se dividen a su vez en cuartas y quintas. El principio inmaterial superior se mueve a lo largo de los intervalos hasta la materia sombría, y el sol, en el punto de intersección, recibe una fuerza transformadora (Alexander Roob, Alquimia y Mística, Taschen 1997).</text>
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      <text bytes="27053" sha1="hdy8ca19mdfl2blthaen9j2ps8l0rn4" xml:space="preserve">{{interwiki
| en = Just intonation
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| es = Entonación Justa
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Todo Sonido tiene una Fundamental, que es un Tono Puro y un recubrimiento de Parciales, que son ondas proporcionales de la nota fundamental en porciones más o menos armónicas q otras. Todos los Parciales pueden vibrar de cualquier manera, pero nuestra necesidad de medición aprecia su representación por medio de fracciones proporcionales, expresadas por Radios. Ahora cabe decir, q dentro de cualquier sonido se encuentra la posibilidad de todos los sonidos, ya que la onda, en su naturaleza varía siempre, incluso un Tono Puro, al chocar con objetos o entrar al conducto auditivo externo e interno, ya sufre de cambios que le dan débiles parciales de manera pseudo-aleatorea, obviamente esto no se siente de una manera clara; así podemos pensar que todo sonido puede ser tratado (sintetizado) para adquirir el timbre de cualquier otro, sea como el átomo q hace variar la materia según su número de electrones y características en los nucleones. Las relaciones existentes en el sonido pueden expresarse mediante Radios.

Los '''Radios''' son la manera que tenemos de expresar las proporciones que se tocan de una cuerda, entendiendo así las vibraciones de los Parciales y Armónicos que se dan en razón de dichas proporciones. Se tiene el criterio de que mientras más simple la relación de variables de un Radio, más consonante será al oído humano, aunque esto no siempre se cumple en la práctica. Lo q estudiamos por el momento es la proporcionalidad de un monocordio afinado a ''X'' Hz; anotaremos los RADIOS con el valor mayor primero, o sea en el Numerador (p.Ej 10:7 indica q se divide la cuerda en 10 partes materiales iguales de la cuerda y se tocaban 7 de éstas).

Imaginemos una cuerda. La cuerda se divide en porciones materialmente equitativas marcadas “.”, se ve cortada por una navaja “i”, el lado derecho de la cuerda interrumpida por “i” es el que suena.

&lt;pre&gt;
I------------------------I  1:1

I-----------i------------I  2:1

I-------.-------i--------I  3:1

I-------i-------.--------I  3:2

I-----.-----.-----i------I  4:1

I----.----.----.----i----I  5:1
&lt;/pre&gt;

Así aclararemos rápidamente de los Armónicos, el armónico segundo, es una octava simple, pero el tercero 3:1 se presenta junto a 3:2 para que entre dentro la octava, el cuarto repite más octavas, el quinto 5:1 estará junto a 5:4, etc., esto porque 3:1, 4:1, 5:1 y en adelante no se escuchan realmente, mientras más alto el Armónico menos perceptible para nuestro oído, pero nos da la ilusión de escucharse dentro el timbre, 3:1 como 3:2, 5:1 como 5:4, 7:1 como 7:6, etc., valga reconocer que desde el Sexto Armónico nos dan notas más excéntricas para el Sistema Occidental. Así viendo una cuerda vibrar podríamos darnos cuenta que en efecto 3:1, 3:2, 4:1, 4:3, 5:1, 5:2, 5:3, 5:4, etc., coexisten de varias maneras. Recordemos q recién tuvimos un acercamiento material a este fenómeno para su mejor comprensión a finales del siglo XX, por medio de la creación de cámaras microscópicas 3D de alta velocidad, al filmar una cuerda vibrar, al día de hoy recién vamos desentrañando realidades acerca de la onda sonora.

Debemos pensar también en que, si queremos octavar un radio se lo multiplica por 2, sea hacia arriba 2:1 o hacia abajo 1:2, por ejemplo 5:2 se octava hacia abajo y da 5:4, hacia arriba da 10:2=5:1. Así se puede transportar cualquier tono un número “n” de octavas, arriba=Tono*(2^n) ó abajo=Tono*((1/2)^n), a este principio le llamamos Equivalencia de Octava. La '''Equivalencia de Octava''' dice que cualquier Frecuencia, cualquier fenómeno periódico, puede ser transportado al espectro audible humano, teniendo un tono musical análogo al fenómeno en cuestión, (1/Periodo)*(2^n) = Frecuencia*(2^n) = Frecuencia Transpuesta a Hz. Así podemos calcular que nuestro rango auditivo estándar es (2^5 … 2^15)Hz, aproximadamente 10 octavas; 8 octavas debajo de este rango se encuentran las frecuencias que sentimos como Tempo y Ritmo, normalmente medido en Beats por Minuto (BPM).

Si la cuerda entera, 1:1, emite 100Hz, entonces 2:1 emitirá 200Hz, 3:1 emitirá 300Hz, etc.

Fijarse en “ / ”

&lt;pre&gt;
I--------i--------/--------I  3:1

I------------i---./---.---.I  2:1 * 3:2 = 6:2 = 3:1
&lt;/pre&gt;

Esto nos indica la '''Ley del Círculo Sonoro''', primero porque las notas octavadas, hacia arriba o abajo, siempre las sentiremos como la misma nota a pesar de su altura: segundo, porque las características del timbre hacen sentir los Armónicos en una altura abstracta, pues no los escuchamos como independientes. Todo Radio implica, al menos dos relaciones, la del Numerador del Radio, que en su forma Impar representa una Identidad vibracional en una tonalidad dada (Utonalidad), la del Denominador, que en su forma Impar representa una Identidad vibracional en otra tonalidad (Otonalidad). Sin importar su expresión en Radio, estas Identidades se consideran números impares. Es sorprendente que al escuchar 2:1, inmediatamente reconozcamos una nota ajena a 1:1, pero no podamos diferenciar su Identidad, es la misma vibración al doble de velocidad, pero nosotros no sabemos eso, sabemos que es el “mismo tono más arriba”, el que se multiplique la velocidad, a nuestro oído cambia la altura, pero no la sensación de Identidad.

La '''Identidad''' en la música es cada uno de los números impares por debajo (e incluyendo) el Límite impar de los radios de un temperamento. Por ejemplo las Identidades incluidas en el Límite 5 son 1, 3 y 5. Cada número impar representa un nuevo tono en la Serie Armónica. Sin embargo, el número 9 por ejemplo, a pesar de no ser un primo, constituye una Identidad, sólo por ser impar.

    Nota:  '''C'''  C  '''G'''  C  '''E'''  G  '''B'''  C  '''D'''   E   '''F'''   G ...

 Parcial:  '''1'''  2  '''3'''  4  '''5'''  6  '''7'''  8  '''9'''  10  '''11'''  12 ...

Y así, cada armónico se aleja de la consonancia, poco a poco entrando a la disonancia, lo q pasa es q mientras más complejo el Radio más disonante lo sentirá el oído del hombre; por ejemplo 10:7, es más difícil de procesar para el cerebro que 3:2, entonces percibimos 10:7 como “más disonante”, obviamente este es un proceso de comparación entre vibraciones y numerosos estudios etnomusicológicos avalan que mucho de nuestro gusto por tales o cuales Radios no es más que un gusto adquirido.

Ok, ahora pensemos momentáneamente en base al pianoforte actual: Do0 con respecto a Do1 se expresa en un RADIO de 2/1, con 1200cents; Do0 y Do2 se expresa en un radio de 4/1, con 2400cents; sabemos q eso es por q la mitad de una cuerda es la octava del tono q la cuerda hace entera, cuando tocamos un cuarto de la cuerda oímos el sonido fundamental dos octavas arriba. Así se cumplen los RADIOS 2/1 y 4/1, sus 8/1, 16/1. Do0 y Sol1 se expresan con el radio 3/1, es la doceava, con 1901.955cents. Ahora 5/1 es una diecisieteava mayor, eso quiere decir q si tocamos un quinto de una cuerda tenemos el sonido de dos octavas y una tercera mayor con respecto a la fundamental; sea Do0 y Mi2 se expresan con el radio 5/1, con 2786.31371cents,

y bueno, notarán q hemos dicho 2:1, 3:1, 4:1 y 5:1, podemos desarrollar por Ley de Armónicos 3:2, 4:3, 5:4, etc., pero lo q nos mueve hoy es ir por '''Límites''', eso significa ir de primo en primo: Para un Número Primo “n”, el Límite “n” contiene todos los números racionales que pueden ser combinados en Radios, utilizando números no más grandes que “n”.

El Límite es el Set de números racionales que se combinan tanto en Numeradores y Denominadores.

Para un numero primo “p”, siendo un subset de Q+ consistiendo de aquellos números racionales “x” cuya factorización tiene la forma [[File:Limite001.png|alt=Limite001.png|117x24px|Limite001.png]] con [[File:Limite002.png|alt=Limite002.png|83x22px|Limite002.png]] forman un subgrupo de (Q+).

Decimos entonces que una escala o Sistema de Afinación utiliza una entonación dentro el Limite “p” si todos los Radios entre tonos se mantienen dentro este subgrupo.

Serían 1:1 y 2:1 el LIMITE 2

sea, añadiendo, 3:1, 3:2, 4:1 y 4:3 al LIMITE 3 (4 entra porque equivale a 2:1 octavado)

1:1 = unísono, primo perfecto

2:1 = octava

3:1 = 12va perfecta

3:2 = quinta perfecta

4:1 = 2 octavas

4:3 = cuarta perfecta

Pero para poder hacer que un sistema funcione debe guardar o mejorar ciertas propiedades armónicas, como la de hacer acordes de tal o cual tipo, de poder modular a ciertas tonalidades con ciertas reglas, que todas las notas del sistema sean modulables, etc., y existen varias maneras organizar el material sonoro, en detalle de la afinación y entonación, pero para poder tener un sistema estable debemos pensar como alquimistas; creando tejidos de una materia en otro plano, hasta llegar a formar estructuras donde nuestra música encuentra sustento y libertad. Hay que saber pulir Diamantes.

Para un Límite 3 por ejemplo tendríamos un Diamante Tonal (se lee desde el extremo inferior izquierdo hacia el superior derecho) p

&lt;pre&gt;
[ 4:3 [ 3:3 ]

[ 1:1 ] 3:2 ]
&lt;/pre&gt;

Porque se anotan los dos números que conforman el Límite (nótese que el 2 no se toma en cuenta como primo ya q es una duplicidad del 1:1), 1 y 3 en este caso, entonces establecemos el centro del Diamante Tonal, donde todos los valores se refieren a 1:1 elevado a diferentes radios componentes del Diamante.

&lt;pre&gt;
... ... [ 3:3 ]

[ 1:1 ] ... ...
&lt;/pre&gt;

Para combinar 3 con 1, dentro la octava llevamos a 3:1 hasta 3:2, para mezclar hacia la octava baja la llevamos a 4:3 y tenemos todas las combinaciones posibles de un Diamante Tonal del Límite 3, que por cierto es muy deficiente en lo que a música respecta. Ahora pensemos en este ejemplo, 3:2 indica que el Radio, por 3, es una potencial Identidad en alguna tonalidad, que en este caso llamaríamos Odentidad, por estar 3 en el Numerador (por ejemplo diríamos que la Odentidad 5 de 3:2 es 5:2 o la Odentidad 9 de 8:7 es 9:7); así 2 indica que es, al mismo tiempo, una potencial Identidad de 1, en otra tonalidad, que llamamos Udentidad, por estar en el Denominador, (podemos decir que la Udentidad 5 de 7:4 es 7:5).

Así se desarrollan teorías, instrumentos y conocimiento para pensar estas notas, poco a poco llegando al LÍMITE 5, en el Renacimiento se llega al este Límite, y se lo desarrolla desde el Barroco hasta el Clasicismo en nivel teórico del temperamento. Siendo q conocemos q Bach escribió cada pieza del Clave Bien Temperado en cada uno de los tonos del piano, sabemos que ellos ya conocían las 12 notas que usamos hasta hoy, pero no de la misma manera. Recalco que estamos estudiando la manera que se tenía de afinar las consonancias principales, además decir q los Temperamentos como el método “pitagórico” de afinación lo veremos luego de entender bien la Entonación Justa, pues ya en el Barroco se hacen cambios importantes en lo q es Temperar los instrumentos, en especial de aquellos de tecla y cuerda trastada, como claves, harspicordios, laudes, bassos, etc.

Continuando y añadiendo, para llegar al LIMITE 5

5:1, 5:2, 5:3, 5:4, 6:1, 6:5 (como en el caso de 4, 6 se toma en cuenta pues es 3 octavado)

Vean que 6:2, equivale a 3:1, no se anota, 6:3 equivale a 2:1, así etc.!!!

5:1 = 17va mayor

5:2 = 10va mayor

5:3 = sexta mayor

5:4 = tercera mayor

6:1 = 19va perfecta

6:5 = tercera menor

Por su parte un Diamante Tonal del Límite 5 tendría un centro

&lt;pre&gt;
[ ... ... ... ...[ 3:3 ]

[ __ __ [ 5:5 ] ... ...]

[ 1:1 ] ... ... ... ...]
&lt;/pre&gt;

Porque al considerar la triada justa del Límite 5, que es 1:1 (tónica= 0Cents), 5:4 (tercera mayor= 400Cents), 3:2 (quinta justa= 700Cents), que se expresa 3:4:5, tenemos la combinación de la fila inferior horizontal (cada fila horizontal es una triada), y se organizan por altura musical. Así organizamos el centro, de abajo a arriba, 1:1, 5:5, 3:3, todos iguales a 1:1 !

&lt;pre&gt;
[ ... ... ... ...[ 3:3 ]

[ __ __ [ 5:5 ] ... ...]

[ 1:1  ]  5:4 ]    3:2 ]
&lt;/pre&gt;

Cada fila se calcula en base a Nexos Numéricos, esto quiere decir un número impar que comparten los Numeradores o Denominadores de una fila del Diamante sea vertical u horizontal.

Así en la fila central primero combinamos 5 con 1 en 5:8… 5 con 3 en 6:5.

&lt;pre&gt;
[ _:_ [ _:_ [ 3:3 ]

[ 8:5 [ 5:5 ] 6:5 ]

[ 1:1 ] 5:4 ] 3:2 ]
&lt;/pre&gt;

Para entender mejor las Identidades, podemos decir que en la Otonalidad de 8:5, 5 es el Nexo Numérico, dejando una secuencia de tres Odentidades hasta el Límite 5= 8:5, 5:5 y 6:5, , y tres más hasta el Límite 11= 7:5, 9:5 y 11:10. En la Utonalidad de 5:4, 5 también es el Nexo Numérico, dándonos seis Udentidades hasta el Límite 11= 5:4, 5:5, 5:3, 10:7, 10:9, 20:11. La Proporción Armónica a través de la historia puede ser asociada a la Otonalidad, desde que consideramos a los Parciales 1:1, 2:1, 3:1, 4:1, 5:1, etc., por su parte la partición de una cuerda en distancias materiales iguales (no distancias musicales), es la ancestral fuente de Utonalidad, esta Proporción Aritmética da como resultado la reversa de la Proporción Armónica o Serie de Parciales, 1:1, 1:2, 1:3, 1:4, 1:5, 1:6, etc., o cualquier partición material de la cuerda.

En la fila superior combinamos 3 con 1 en 4:3… 3 con 5 en 5:3.

&lt;pre&gt;
[ 4:3 [ 5:3 [ 3:3 ]

[ 8:5 [ 5:5 ] 6:5 ]

[ 1:1 ] 5:4 ] 3:2 ]
&lt;/pre&gt;

Nótese que las filas verticales forman triadas también. Las Identidades de los Radios q forman el Diamante son lo que llamamos, en el Sistema Tonal Occidental, modalidades “Mayor y menor”. La Otonalidad (Mayor) es una inmutable colección de Radios, que representa la inmutable capacidad del oído humano.

Recontemos todos los radios de los que hemos hablado:

1:1 = unísono, primo perfecto

2:1 = octava

3:1 = 12va perfecta

3:2 = quinta perfecta

4:1 = 2 octavas

4:3 = cuarta perfecta

5:1 = 17va mayor

5:2 = 10va mayor

5:3 = sexta mayor

5:4 = tercera mayor

6:1 = 19va perfecta

6:5 = tercera menor

Que si organizamos por altura musical y con Cents se ve:

1:1 = Fundamental = 0c

6:5 = tercera menor = 315,6412870005c

5:4 = tercera mayor = 386,3137138648c

4:3 = cuarta perfecta = 498,0449991346c

3:2 = quinta perfecta = 701,9550008654c

5:3 = sexta mayor = 884,3587129994c

2:1 = octava = 1200c

5:2 = 10va mayor = 1586,3137138648c

3:1 = 12va perfecta = 1901,9550008654c

5:1 = 17va mayor = 2786,3137138648c

6:1 = 19na mayor = 3101,9550008654c

Podemos decir que el patrón de la Utonalidad, es la reversa exacta de la Serie de Parciales. Como es el de la Otonalidad para la Escala Diatónica. Esto tiene que ver con la ya mencionada Serie de Sub-Armónicos, unido a la noción de utilización de la Relativa Menor, expresada 10:12:15; si la Diferencia de Tonos producida por esta triada equivoca las Consonancias, que sería la teoría que fundamente mejor la existencia de la sensación de Modalidad Menor, todavía es una polémica entre los teóricos, por ejemplo si la triada mayor es 1:1, 25:1 y 50, la menor poseerá 1:1, 20:1 y 50, sin embargo aunque los intervalos sean iguales en ambas escalas, el orden de sucesión difiere. Por el momento lo que más nos importa es la Utonalidad en Radios, como Complementariedad de la Otonalidad.

Según la teoría dualista de Hugo Riemann:

[[File:dualistaRiemann.png|alt=dualistaRiemann.png|267x133px|dualistaRiemann.png]]

Los Radios a la izquierda del Centro del Diamante son Complementariedades de los del lado derecho y se los considera por debajo 1:1, como inversiones.

&lt;pre&gt;
[ 4:3 [ 5:3 [

[ 8:5 [
&lt;/pre&gt;

El fenómeno de la tonalidad está primariamente establecido por la Triada, con las Identidades mostradas en el Diamante Tonal= 1, 5, 3, de los que salen cada una de las líneas que se combinan en diferentes Nexos Numéricos, que se expresan en la relación 4:5:6 (ascendente) para Otonalidades y en (1/4):(1/5):(1/6) para las Utonalidades. Si estipulamos tres Identidades para un determinado acorde, sea utilizando cada elemento como tónica llegado su momento, éstas nos darán la máxima consonancia del Sistema, esto está emparentado con la sensación psicológica de tonalidad que nos hace girar en torno al Centro del Diamante o Identidad 1:1.

Esto se vuelve más claro al pensar que los Radios complementarios (4:3, 5:3, 8:5) se encuentran en realidad abajo del alcance de 2:1 y se expresarían correctamente en el sentido acústico como

&lt;pre&gt;
[ 2:3 [ 5:3 [

[ 4:5 [
&lt;/pre&gt;

No olvidar, valga la redundancia, q son Radios Complementarios de:

&lt;pre&gt;
[ [ 3:3 ]

[ _ _ [ 5:5 ] 6:5 ]

[ 1:1 ] 5:4 ] 3:2 ]
&lt;/pre&gt;

Así hacia abajo desde 1:1 Utonalidad, la Udentidad 5 de tal tiene 4:5 de la vibración1:1, la Udentidad 3 tiene 2:3 de 1:1. Hacia arriba desde 1:1 Otonalidad, la Odentidad 5 tendrá 5:4 de 1:1, la Odentidad 3 tendrá 3:2 de la vibración fundamental 1:1. En cuestión de Otonalidad (mayor) nuestro incipiente Diamante Tonal no tiene nada extraño para quien conoce lo básico del estudio musical occidental, y es fácil ubicar que 3 siempre representa el grado Dominante de la escala, 5 representa el grado Mediante. En la Utonalidad (menor) la concepción es un poco diferente, desde que las identidades descienden de tono desde 1:1, aunque prácticamente los resultados son los mismos, la unidad es aquí la quinta del acorde, pero la gran controversia surge de la posición que se le da a la Fundamental.

La vista reversa de la Utonalidad puede considerarse como un mapa donde el sur es tomado como norte y viceversa, esto no impide el correcto funcionamiento del orden del Diamante.

No olvidemos que cada Radio tiene la revelación de sus Potencialidades. Cuando vemos 5:3, sabemos que 5 puede representar la 5 Odentidad (mediante) de una Otonalidad, y que 3 puede representar la 3 Udentidad (tónica de la relativa menor) en una Utonalidad. En 3:2 vemos inmediatamente el 3 capaz de ser 3 Odentidad (dominante) de una Otonalidad, el 1 (recordemos que 2 es una duplicidad de 1) en una Utonalidad.

Así un Radio debe ser pensado en dos sentidos principales, y uno de estos Radios, 1:1, debe ser pensado en seis sentidos, ya q se escribe tres veces (y cada Radio se piensa por dos).

Esta facultad del tono, la de servir en dos (o más) sentidos es primordial para la modulación en nivel teórico (pues no es del todo necesaria en sentido práctico)

Veamos las características de la escala que estamos manejando=

&lt;pre&gt;
Cents   –  Radio  –  Diferencia  –  Diferencia en cents

0 --------- 1:1 ---------------------------------------
--------------------------- 6:5 --------- 315.6 -------
315.6 ----- 6:5 ---------------------------------------
-------------------------- 25:24 --------- 70.7 -------
386.3 ----- 5:4 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
498.0 ----- 4:3 ---------------------------------------
--------------------------- 9:8 --------- 103.9 -------
702.0 ----- 3:2 ---------------------------------------
-------------------------- 10:9 --------- 182.4 -------
884.4 ----- 5:3 ---------------------------------------
--------------------------- 6:5 --------- 315.6 -------
1200 ------ 2:1 ---------------------------------------
&lt;/pre&gt;

Como vemos en una escala Límite 5, existen tres espacios significativos, dos de 315.6cents cada uno y otro espacio de 203.9Cents. Subdividiendo estas lagunas es posible, no sólo incrementar el número de grados de la escala, sino también el de tonalidades disponibles. Esto se hace con múltiplos de los Primos del Límite. Las diferencias entre Radios nos indican estas nuevas distancias, como entre 1:1 y 6:5 acomodamos los nuevos Radios 9:8, 10:9 y 16:15, así como entre 5:3 y 2:1 se añadirán 9:5, 15:8 y 16:9, y sacando la diferencia entre éstos podemos tener más y más nuevos Radios repartiéndose de manera simétrica.

&lt;pre&gt;
Cents   –  Radio   –   Diferencia – Diferencia en cents

0 --------- 1:1 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
111.7 ---- 16:15 --------------------------------------
-------------------------- 25:24 --------- 70.7 -------
182.4 ---- 10:9 ---------------------------------------
-------------------------- 81:80 --------- 21.5 -------
203.9 ----- 9:8 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
315.6 ----- 6:5 ---------------------------------------
-------------------------- 25:24 --------- 70.7 -------
386.3 ----- 5:4 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
498.0 ----- 4:3 ---------------------------------------
--------------------------- 9:8 --------- 103.9 -------
702.0 ----- 3:2 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
813.7 ----- 8:5 ---------------------------------------
-------------------------- 25:24 --------- 70.5 -------
884.4 ----- 5:3 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
996.1 ---- 16:9 ---------------------------------------
-------------------------- 81:80 --------- 21.5 -------
1017.6 ---- 9:5 ---------------------------------------
-------------------------- 25:24 --------- 70.7 -------
1088.3 --- 15:8 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
1200 ------ 2:1 ---------------------------------------
&lt;/pre&gt;

La cuestión de si el oído prefiere Radios compuestos de múltiplos de pequeños números primos, a un Radio de aproximadamente la misma distancia y números más pequeños pero con un primo más grande no se puede responder de manera categórica. Por ejemplo, de los intervalos 9:8 (203.9cents) y 8:7 (231.2cents), muy cercanos entre sí, considerando una relación melódica, el oído preferirá 9:8 en el que los números se encuentran dentro el Límite 3. Sin embargo 8:7 funciona de una manera muy interesante en la música arábiga, como sonoridad independiente, con armonía parcialmente dentro del Límite 7. La percepción de este intervalo como utilizable es un hecho cultural y un gusto adquirido.

Como involucran Radios de números múltiplos, las ocho nuevas tonalidades (cuatro Otonalidades y cuatro Utonalidades) dentro el Límite 5 serán llamadas Tonalidades Secundarias.

Otonalidad (hacia arriba)

&lt;pre&gt;
Odentidad 1   –    Odentidad 5   –   Odentidad 3

 3:2 ---------------- 15:8 ---------------- 9:8

 6:5 ----------------- 3:2 ---------------- 9:5

16:9 ---------------- 10:9----------------- 4:3

16:15 ---------------- 4:3 ---------------- 8:5

------------5:4-------------------6:5----------
&lt;/pre&gt;

En la Otonalidad secundaria 3:2, sabemos que 3 representa la Odentidad 1, entonces la Odentidad 5 debe ser 3*5=15 y la Odentidad 3*3=9. El Nexo Numérico de esta Otonalidad es 1.

En la Otonalidad 6:5, 6 representa la Odentidad 1, 6*5=30 es la Odentidad 5, 6*3=18 la Odentidad 3. El Nexo Numérico de esta Otonalidad es 5. Se expresa mejor como 6:5, 30:20, 18:10.

Utonalidad (hacia abajo)

&lt;pre&gt;
Udentidad 1   –    Udentidad 5   –  Udentidad 3

 4:3 ----------------- 16:15 ------------- 16:9

 5:3 ------------------ 4:3 -------------- 10:9

 9:8 ------------------ 9:5 --------------- 3:2

15:8 ------------------ 3:2 --------------- 5:4

------------5:4------------------6:5-----------
&lt;/pre&gt;

En la Utonalidad bajo 15:8, sabemos que 8 representa la Udentidad 1, 8*5=40 es la Udentidad 5 y 8*3=24 es la Udentidad 3. El Nexo Numérico es 15. Se expresa mejor como 15:8, 60:40 y 30:24.

Los intervalos entre Identidades son siempre 5:4 y 6:5, hacia arriba para Otonalidades, descendiendo para Utonalidades. Como ejemplo, la Otonalidad 16:15 elevada 5:4 es (16:15)*(5:4)=80:60=4:3 y 4:3 elevado 6:5 es (4:3)*(6:5)=24:15=8:5. En la Utonalidad 15:8 descendida 5:4 es (15:8)*(4:5)=60:40=3:2 y 3:2 descendida 6:5 es (3:2)*(5:6)=15:12=5:4.

Dos posibles triadas secundarias se vuelven disponibles si insertamos 25:24 entre 1:1 y 16:15 y su complemento 48:25, que va entre 15:8 y 2:1, ambos Radios teniendo múltiplos dentro el Límite 5.

El Diamante Tonal no es nada más que un mapa conceptual de las acciones sonoras posibles y aceptadas, ideada por el Compositor y Teórico norteamericano Harry Partch, a este tipo de graficaciones le llamamos Entramado.

A Pesar que Partch presenta la Otonalidad y Utonalidad como conceptos simétricos, esto sólo se da en un nivel teórico, pues cuando se toca una Otonalidad en el plano material, ésta se percibe más consonante que su similar Utonalidad debido a la presencia del efecto de la Fundamental Perdida. En una Otonalidad, todas las notas son elementos de la Serie Armónica, así que activan la presencia de la Fundamental Perdida aunque sean armónicos de un tono complejo. Los acordes Utonales, aunque contienen las mismas diadas que los acordes Otonales, no tienden a activar el este fenómeno tan fuertemente.

Ya desde los desarrollos pitagóricos, se tendía a utilizar la distribución de los Radios en proporciones simples y emparentadas, un ejemplo de esto es el Lambdoma, que se logra con una distribución de los Radios desde 1 u otro número, de arriba a abajo, como centro del Diamante Lambdoma.

&lt;pre&gt;
[ 1:1 ]

[ ... ... [ 1:1 ]

[ ... ... ... ... [ 1:1 ]
&lt;/pre&gt;

Hacia abajo se desenvuelven Radios en un orden numérico libre, la línea vertical con Radios descendentes y la horizontal con Radios ascendentes.

&lt;pre&gt;
[ 1:1 ] 2:1 ] 3:1 ]

[ 1:2 [ 1:1 ] ... ...

[ 1:3 [ ... ... [ 1:1 ]
&lt;/pre&gt;

Seguidamente se combinan los Radios intermedios, por ejemplo en la segunda línea horizontal, mezclamos 3 con 2, obteniendo 3:2, así como en la tercera fila mezclamos 2 con 3, obteniendo 2:3.

&lt;pre&gt;
[ 1:1 ] 2:1 ] 3:1 ]

[ 1:2 [ 1:1 ] 3:2 ]

[ 1:3 [ 2:3 [ 1:1 ]
&lt;/pre&gt;

Esto es un Lambdoma hasta el Límite 3. Podemos extendernos un poco más y tener una tabla incluyendo el número 4, que es duplicidad de 2, así como 2 es duplicidad de 1. Mezclando 2 y 4, obtenemos 2:4=1:2, lo mismo para su contraparte ascendente 4:2=2:1.

&lt;pre&gt;
[ 1:1 ] 2:1 ] 3:1 ] 4:1 ]

[ 1:2 [ 1:1 ] 3:2 ] 2:1 ]

[ 1:3 [ 2:3 [ 1:1 ] 4:3 ]

[ 1:4 [ 1:2 [ 3:4 [ 1:1 ]
&lt;/pre&gt;

Hay que recalcar que Pitágoras no dejó ningún escrito y la mayoría de los datos que sabemos de él se escribieron más de cien años después de su muerte, sin embargo sabemos de la existencia del Lambdoma o Tabla Pitagórica por la tradición musical y matemática que se manejó en Grecia durante siglos, atribuída al mismo.

[[file:monocordio.jpg]]

Robert Fludd – Utriusque Cosmi Historia – El instrumento está dividido en una octava superior, ideal, activa, y una octava inferior, material, pasiva. Ambas octavas se dividen a su vez en cuartas y quintas. El principio inmaterial superior se mueve a lo largo de los intervalos hasta la materia sombría, y el sol, en el punto de intersección, recibe una fuerza transformadora (Alexander Roob, Alquimia y Mística, Taschen 1997).</text>
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      <timestamp>2026-07-15T04:30:34Z</timestamp>
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      <comment>Enlace -&gt; Radio</comment>
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      <text bytes="27051" sha1="tge814k91wzgusryliskff95c9lcbz5" xml:space="preserve">{{interwiki
| en = Just intonation
| de = Reine Stimmungen
| es = Entonación Justa
}}
Todo Sonido tiene una Fundamental, que es un Tono Puro y un recubrimiento de Parciales, que son ondas proporcionales de la nota fundamental en porciones más o menos armónicas q otras. Todos los Parciales pueden vibrar de cualquier manera, pero nuestra necesidad de medición aprecia su representación por medio de fracciones proporcionales, expresadas por Radios. Ahora cabe decir, q dentro de cualquier sonido se encuentra la posibilidad de todos los sonidos, ya que la onda, en su naturaleza varía siempre, incluso un Tono Puro, al chocar con objetos o entrar al conducto auditivo externo e interno, ya sufre de cambios que le dan débiles parciales de manera pseudo-aleatorea, obviamente esto no se siente de una manera clara; así podemos pensar que todo sonido puede ser tratado (sintetizado) para adquirir el timbre de cualquier otro, sea como el átomo q hace variar la materia según su número de electrones y características en los nucleones. Las relaciones existentes en el sonido pueden expresarse mediante Radios.

Los [[Radio]]s son la manera que tenemos de expresar las proporciones que se tocan de una cuerda, entendiendo así las vibraciones de los Parciales y Armónicos que se dan en razón de dichas proporciones. Se tiene el criterio de que mientras más simple la relación de variables de un Radio, más consonante será al oído humano, aunque esto no siempre se cumple en la práctica. Lo q estudiamos por el momento es la proporcionalidad de un monocordio afinado a ''X'' Hz; anotaremos los RADIOS con el valor mayor primero, o sea en el Numerador (p.Ej 10:7 indica q se divide la cuerda en 10 partes materiales iguales de la cuerda y se tocaban 7 de éstas).

Imaginemos una cuerda. La cuerda se divide en porciones materialmente equitativas marcadas “.”, se ve cortada por una navaja “i”, el lado derecho de la cuerda interrumpida por “i” es el que suena.

&lt;pre&gt;
I------------------------I  1:1

I-----------i------------I  2:1

I-------.-------i--------I  3:1

I-------i-------.--------I  3:2

I-----.-----.-----i------I  4:1

I----.----.----.----i----I  5:1
&lt;/pre&gt;

Así aclararemos rápidamente de los Armónicos, el armónico segundo, es una octava simple, pero el tercero 3:1 se presenta junto a 3:2 para que entre dentro la octava, el cuarto repite más octavas, el quinto 5:1 estará junto a 5:4, etc., esto porque 3:1, 4:1, 5:1 y en adelante no se escuchan realmente, mientras más alto el Armónico menos perceptible para nuestro oído, pero nos da la ilusión de escucharse dentro el timbre, 3:1 como 3:2, 5:1 como 5:4, 7:1 como 7:6, etc., valga reconocer que desde el Sexto Armónico nos dan notas más excéntricas para el Sistema Occidental. Así viendo una cuerda vibrar podríamos darnos cuenta que en efecto 3:1, 3:2, 4:1, 4:3, 5:1, 5:2, 5:3, 5:4, etc., coexisten de varias maneras. Recordemos q recién tuvimos un acercamiento material a este fenómeno para su mejor comprensión a finales del siglo XX, por medio de la creación de cámaras microscópicas 3D de alta velocidad, al filmar una cuerda vibrar, al día de hoy recién vamos desentrañando realidades acerca de la onda sonora.

Debemos pensar también en que, si queremos octavar un radio se lo multiplica por 2, sea hacia arriba 2:1 o hacia abajo 1:2, por ejemplo 5:2 se octava hacia abajo y da 5:4, hacia arriba da 10:2=5:1. Así se puede transportar cualquier tono un número “n” de octavas, arriba=Tono*(2^n) ó abajo=Tono*((1/2)^n), a este principio le llamamos Equivalencia de Octava. La '''Equivalencia de Octava''' dice que cualquier Frecuencia, cualquier fenómeno periódico, puede ser transportado al espectro audible humano, teniendo un tono musical análogo al fenómeno en cuestión, (1/Periodo)*(2^n) = Frecuencia*(2^n) = Frecuencia Transpuesta a Hz. Así podemos calcular que nuestro rango auditivo estándar es (2^5 … 2^15)Hz, aproximadamente 10 octavas; 8 octavas debajo de este rango se encuentran las frecuencias que sentimos como Tempo y Ritmo, normalmente medido en Beats por Minuto (BPM).

Si la cuerda entera, 1:1, emite 100Hz, entonces 2:1 emitirá 200Hz, 3:1 emitirá 300Hz, etc.

Fijarse en “ / ”

&lt;pre&gt;
I--------i--------/--------I  3:1

I------------i---./---.---.I  2:1 * 3:2 = 6:2 = 3:1
&lt;/pre&gt;

Esto nos indica la '''Ley del Círculo Sonoro''', primero porque las notas octavadas, hacia arriba o abajo, siempre las sentiremos como la misma nota a pesar de su altura: segundo, porque las características del timbre hacen sentir los Armónicos en una altura abstracta, pues no los escuchamos como independientes. Todo Radio implica, al menos dos relaciones, la del Numerador del Radio, que en su forma Impar representa una Identidad vibracional en una tonalidad dada (Utonalidad), la del Denominador, que en su forma Impar representa una Identidad vibracional en otra tonalidad (Otonalidad). Sin importar su expresión en Radio, estas Identidades se consideran números impares. Es sorprendente que al escuchar 2:1, inmediatamente reconozcamos una nota ajena a 1:1, pero no podamos diferenciar su Identidad, es la misma vibración al doble de velocidad, pero nosotros no sabemos eso, sabemos que es el “mismo tono más arriba”, el que se multiplique la velocidad, a nuestro oído cambia la altura, pero no la sensación de Identidad.

La '''Identidad''' en la música es cada uno de los números impares por debajo (e incluyendo) el Límite impar de los radios de un temperamento. Por ejemplo las Identidades incluidas en el Límite 5 son 1, 3 y 5. Cada número impar representa un nuevo tono en la Serie Armónica. Sin embargo, el número 9 por ejemplo, a pesar de no ser un primo, constituye una Identidad, sólo por ser impar.

    Nota:  '''C'''  C  '''G'''  C  '''E'''  G  '''B'''  C  '''D'''   E   '''F'''   G ...

 Parcial:  '''1'''  2  '''3'''  4  '''5'''  6  '''7'''  8  '''9'''  10  '''11'''  12 ...

Y así, cada armónico se aleja de la consonancia, poco a poco entrando a la disonancia, lo q pasa es q mientras más complejo el Radio más disonante lo sentirá el oído del hombre; por ejemplo 10:7, es más difícil de procesar para el cerebro que 3:2, entonces percibimos 10:7 como “más disonante”, obviamente este es un proceso de comparación entre vibraciones y numerosos estudios etnomusicológicos avalan que mucho de nuestro gusto por tales o cuales Radios no es más que un gusto adquirido.

Ok, ahora pensemos momentáneamente en base al pianoforte actual: Do0 con respecto a Do1 se expresa en un RADIO de 2/1, con 1200cents; Do0 y Do2 se expresa en un radio de 4/1, con 2400cents; sabemos q eso es por q la mitad de una cuerda es la octava del tono q la cuerda hace entera, cuando tocamos un cuarto de la cuerda oímos el sonido fundamental dos octavas arriba. Así se cumplen los RADIOS 2/1 y 4/1, sus 8/1, 16/1. Do0 y Sol1 se expresan con el radio 3/1, es la doceava, con 1901.955cents. Ahora 5/1 es una diecisieteava mayor, eso quiere decir q si tocamos un quinto de una cuerda tenemos el sonido de dos octavas y una tercera mayor con respecto a la fundamental; sea Do0 y Mi2 se expresan con el radio 5/1, con 2786.31371cents,

y bueno, notarán q hemos dicho 2:1, 3:1, 4:1 y 5:1, podemos desarrollar por Ley de Armónicos 3:2, 4:3, 5:4, etc., pero lo q nos mueve hoy es ir por '''Límites''', eso significa ir de primo en primo: Para un Número Primo “n”, el Límite “n” contiene todos los números racionales que pueden ser combinados en Radios, utilizando números no más grandes que “n”.

El Límite es el Set de números racionales que se combinan tanto en Numeradores y Denominadores.

Para un numero primo “p”, siendo un subset de Q+ consistiendo de aquellos números racionales “x” cuya factorización tiene la forma [[File:Limite001.png|alt=Limite001.png|117x24px|Limite001.png]] con [[File:Limite002.png|alt=Limite002.png|83x22px|Limite002.png]] forman un subgrupo de (Q+).

Decimos entonces que una escala o Sistema de Afinación utiliza una entonación dentro el Limite “p” si todos los Radios entre tonos se mantienen dentro este subgrupo.

Serían 1:1 y 2:1 el LIMITE 2

sea, añadiendo, 3:1, 3:2, 4:1 y 4:3 al LIMITE 3 (4 entra porque equivale a 2:1 octavado)

1:1 = unísono, primo perfecto

2:1 = octava

3:1 = 12va perfecta

3:2 = quinta perfecta

4:1 = 2 octavas

4:3 = cuarta perfecta

Pero para poder hacer que un sistema funcione debe guardar o mejorar ciertas propiedades armónicas, como la de hacer acordes de tal o cual tipo, de poder modular a ciertas tonalidades con ciertas reglas, que todas las notas del sistema sean modulables, etc., y existen varias maneras organizar el material sonoro, en detalle de la afinación y entonación, pero para poder tener un sistema estable debemos pensar como alquimistas; creando tejidos de una materia en otro plano, hasta llegar a formar estructuras donde nuestra música encuentra sustento y libertad. Hay que saber pulir Diamantes.

Para un Límite 3 por ejemplo tendríamos un Diamante Tonal (se lee desde el extremo inferior izquierdo hacia el superior derecho) p

&lt;pre&gt;
[ 4:3 [ 3:3 ]

[ 1:1 ] 3:2 ]
&lt;/pre&gt;

Porque se anotan los dos números que conforman el Límite (nótese que el 2 no se toma en cuenta como primo ya q es una duplicidad del 1:1), 1 y 3 en este caso, entonces establecemos el centro del Diamante Tonal, donde todos los valores se refieren a 1:1 elevado a diferentes radios componentes del Diamante.

&lt;pre&gt;
... ... [ 3:3 ]

[ 1:1 ] ... ...
&lt;/pre&gt;

Para combinar 3 con 1, dentro la octava llevamos a 3:1 hasta 3:2, para mezclar hacia la octava baja la llevamos a 4:3 y tenemos todas las combinaciones posibles de un Diamante Tonal del Límite 3, que por cierto es muy deficiente en lo que a música respecta. Ahora pensemos en este ejemplo, 3:2 indica que el Radio, por 3, es una potencial Identidad en alguna tonalidad, que en este caso llamaríamos Odentidad, por estar 3 en el Numerador (por ejemplo diríamos que la Odentidad 5 de 3:2 es 5:2 o la Odentidad 9 de 8:7 es 9:7); así 2 indica que es, al mismo tiempo, una potencial Identidad de 1, en otra tonalidad, que llamamos Udentidad, por estar en el Denominador, (podemos decir que la Udentidad 5 de 7:4 es 7:5).

Así se desarrollan teorías, instrumentos y conocimiento para pensar estas notas, poco a poco llegando al LÍMITE 5, en el Renacimiento se llega al este Límite, y se lo desarrolla desde el Barroco hasta el Clasicismo en nivel teórico del temperamento. Siendo q conocemos q Bach escribió cada pieza del Clave Bien Temperado en cada uno de los tonos del piano, sabemos que ellos ya conocían las 12 notas que usamos hasta hoy, pero no de la misma manera. Recalco que estamos estudiando la manera que se tenía de afinar las consonancias principales, además decir q los Temperamentos como el método “pitagórico” de afinación lo veremos luego de entender bien la Entonación Justa, pues ya en el Barroco se hacen cambios importantes en lo q es Temperar los instrumentos, en especial de aquellos de tecla y cuerda trastada, como claves, harspicordios, laudes, bassos, etc.

Continuando y añadiendo, para llegar al LIMITE 5

5:1, 5:2, 5:3, 5:4, 6:1, 6:5 (como en el caso de 4, 6 se toma en cuenta pues es 3 octavado)

Vean que 6:2, equivale a 3:1, no se anota, 6:3 equivale a 2:1, así etc.!!!

5:1 = 17va mayor

5:2 = 10va mayor

5:3 = sexta mayor

5:4 = tercera mayor

6:1 = 19va perfecta

6:5 = tercera menor

Por su parte un Diamante Tonal del Límite 5 tendría un centro

&lt;pre&gt;
[ ... ... ... ...[ 3:3 ]

[ __ __ [ 5:5 ] ... ...]

[ 1:1 ] ... ... ... ...]
&lt;/pre&gt;

Porque al considerar la triada justa del Límite 5, que es 1:1 (tónica= 0Cents), 5:4 (tercera mayor= 400Cents), 3:2 (quinta justa= 700Cents), que se expresa 3:4:5, tenemos la combinación de la fila inferior horizontal (cada fila horizontal es una triada), y se organizan por altura musical. Así organizamos el centro, de abajo a arriba, 1:1, 5:5, 3:3, todos iguales a 1:1 !

&lt;pre&gt;
[ ... ... ... ...[ 3:3 ]

[ __ __ [ 5:5 ] ... ...]

[ 1:1  ]  5:4 ]    3:2 ]
&lt;/pre&gt;

Cada fila se calcula en base a Nexos Numéricos, esto quiere decir un número impar que comparten los Numeradores o Denominadores de una fila del Diamante sea vertical u horizontal.

Así en la fila central primero combinamos 5 con 1 en 5:8… 5 con 3 en 6:5.

&lt;pre&gt;
[ _:_ [ _:_ [ 3:3 ]

[ 8:5 [ 5:5 ] 6:5 ]

[ 1:1 ] 5:4 ] 3:2 ]
&lt;/pre&gt;

Para entender mejor las Identidades, podemos decir que en la Otonalidad de 8:5, 5 es el Nexo Numérico, dejando una secuencia de tres Odentidades hasta el Límite 5= 8:5, 5:5 y 6:5, , y tres más hasta el Límite 11= 7:5, 9:5 y 11:10. En la Utonalidad de 5:4, 5 también es el Nexo Numérico, dándonos seis Udentidades hasta el Límite 11= 5:4, 5:5, 5:3, 10:7, 10:9, 20:11. La Proporción Armónica a través de la historia puede ser asociada a la Otonalidad, desde que consideramos a los Parciales 1:1, 2:1, 3:1, 4:1, 5:1, etc., por su parte la partición de una cuerda en distancias materiales iguales (no distancias musicales), es la ancestral fuente de Utonalidad, esta Proporción Aritmética da como resultado la reversa de la Proporción Armónica o Serie de Parciales, 1:1, 1:2, 1:3, 1:4, 1:5, 1:6, etc., o cualquier partición material de la cuerda.

En la fila superior combinamos 3 con 1 en 4:3… 3 con 5 en 5:3.

&lt;pre&gt;
[ 4:3 [ 5:3 [ 3:3 ]

[ 8:5 [ 5:5 ] 6:5 ]

[ 1:1 ] 5:4 ] 3:2 ]
&lt;/pre&gt;

Nótese que las filas verticales forman triadas también. Las Identidades de los Radios q forman el Diamante son lo que llamamos, en el Sistema Tonal Occidental, modalidades “Mayor y menor”. La Otonalidad (Mayor) es una inmutable colección de Radios, que representa la inmutable capacidad del oído humano.

Recontemos todos los radios de los que hemos hablado:

1:1 = unísono, primo perfecto

2:1 = octava

3:1 = 12va perfecta

3:2 = quinta perfecta

4:1 = 2 octavas

4:3 = cuarta perfecta

5:1 = 17va mayor

5:2 = 10va mayor

5:3 = sexta mayor

5:4 = tercera mayor

6:1 = 19va perfecta

6:5 = tercera menor

Que si organizamos por altura musical y con Cents se ve:

1:1 = Fundamental = 0c

6:5 = tercera menor = 315,6412870005c

5:4 = tercera mayor = 386,3137138648c

4:3 = cuarta perfecta = 498,0449991346c

3:2 = quinta perfecta = 701,9550008654c

5:3 = sexta mayor = 884,3587129994c

2:1 = octava = 1200c

5:2 = 10va mayor = 1586,3137138648c

3:1 = 12va perfecta = 1901,9550008654c

5:1 = 17va mayor = 2786,3137138648c

6:1 = 19na mayor = 3101,9550008654c

Podemos decir que el patrón de la Utonalidad, es la reversa exacta de la Serie de Parciales. Como es el de la Otonalidad para la Escala Diatónica. Esto tiene que ver con la ya mencionada Serie de Sub-Armónicos, unido a la noción de utilización de la Relativa Menor, expresada 10:12:15; si la Diferencia de Tonos producida por esta triada equivoca las Consonancias, que sería la teoría que fundamente mejor la existencia de la sensación de Modalidad Menor, todavía es una polémica entre los teóricos, por ejemplo si la triada mayor es 1:1, 25:1 y 50, la menor poseerá 1:1, 20:1 y 50, sin embargo aunque los intervalos sean iguales en ambas escalas, el orden de sucesión difiere. Por el momento lo que más nos importa es la Utonalidad en Radios, como Complementariedad de la Otonalidad.

Según la teoría dualista de Hugo Riemann:

[[File:dualistaRiemann.png|alt=dualistaRiemann.png|267x133px|dualistaRiemann.png]]

Los Radios a la izquierda del Centro del Diamante son Complementariedades de los del lado derecho y se los considera por debajo 1:1, como inversiones.

&lt;pre&gt;
[ 4:3 [ 5:3 [

[ 8:5 [
&lt;/pre&gt;

El fenómeno de la tonalidad está primariamente establecido por la Triada, con las Identidades mostradas en el Diamante Tonal= 1, 5, 3, de los que salen cada una de las líneas que se combinan en diferentes Nexos Numéricos, que se expresan en la relación 4:5:6 (ascendente) para Otonalidades y en (1/4):(1/5):(1/6) para las Utonalidades. Si estipulamos tres Identidades para un determinado acorde, sea utilizando cada elemento como tónica llegado su momento, éstas nos darán la máxima consonancia del Sistema, esto está emparentado con la sensación psicológica de tonalidad que nos hace girar en torno al Centro del Diamante o Identidad 1:1.

Esto se vuelve más claro al pensar que los Radios complementarios (4:3, 5:3, 8:5) se encuentran en realidad abajo del alcance de 2:1 y se expresarían correctamente en el sentido acústico como

&lt;pre&gt;
[ 2:3 [ 5:3 [

[ 4:5 [
&lt;/pre&gt;

No olvidar, valga la redundancia, q son Radios Complementarios de:

&lt;pre&gt;
[ [ 3:3 ]

[ _ _ [ 5:5 ] 6:5 ]

[ 1:1 ] 5:4 ] 3:2 ]
&lt;/pre&gt;

Así hacia abajo desde 1:1 Utonalidad, la Udentidad 5 de tal tiene 4:5 de la vibración1:1, la Udentidad 3 tiene 2:3 de 1:1. Hacia arriba desde 1:1 Otonalidad, la Odentidad 5 tendrá 5:4 de 1:1, la Odentidad 3 tendrá 3:2 de la vibración fundamental 1:1. En cuestión de Otonalidad (mayor) nuestro incipiente Diamante Tonal no tiene nada extraño para quien conoce lo básico del estudio musical occidental, y es fácil ubicar que 3 siempre representa el grado Dominante de la escala, 5 representa el grado Mediante. En la Utonalidad (menor) la concepción es un poco diferente, desde que las identidades descienden de tono desde 1:1, aunque prácticamente los resultados son los mismos, la unidad es aquí la quinta del acorde, pero la gran controversia surge de la posición que se le da a la Fundamental.

La vista reversa de la Utonalidad puede considerarse como un mapa donde el sur es tomado como norte y viceversa, esto no impide el correcto funcionamiento del orden del Diamante.

No olvidemos que cada Radio tiene la revelación de sus Potencialidades. Cuando vemos 5:3, sabemos que 5 puede representar la 5 Odentidad (mediante) de una Otonalidad, y que 3 puede representar la 3 Udentidad (tónica de la relativa menor) en una Utonalidad. En 3:2 vemos inmediatamente el 3 capaz de ser 3 Odentidad (dominante) de una Otonalidad, el 1 (recordemos que 2 es una duplicidad de 1) en una Utonalidad.

Así un Radio debe ser pensado en dos sentidos principales, y uno de estos Radios, 1:1, debe ser pensado en seis sentidos, ya q se escribe tres veces (y cada Radio se piensa por dos).

Esta facultad del tono, la de servir en dos (o más) sentidos es primordial para la modulación en nivel teórico (pues no es del todo necesaria en sentido práctico)

Veamos las características de la escala que estamos manejando=

&lt;pre&gt;
Cents   –  Radio  –  Diferencia  –  Diferencia en cents

0 --------- 1:1 ---------------------------------------
--------------------------- 6:5 --------- 315.6 -------
315.6 ----- 6:5 ---------------------------------------
-------------------------- 25:24 --------- 70.7 -------
386.3 ----- 5:4 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
498.0 ----- 4:3 ---------------------------------------
--------------------------- 9:8 --------- 103.9 -------
702.0 ----- 3:2 ---------------------------------------
-------------------------- 10:9 --------- 182.4 -------
884.4 ----- 5:3 ---------------------------------------
--------------------------- 6:5 --------- 315.6 -------
1200 ------ 2:1 ---------------------------------------
&lt;/pre&gt;

Como vemos en una escala Límite 5, existen tres espacios significativos, dos de 315.6cents cada uno y otro espacio de 203.9Cents. Subdividiendo estas lagunas es posible, no sólo incrementar el número de grados de la escala, sino también el de tonalidades disponibles. Esto se hace con múltiplos de los Primos del Límite. Las diferencias entre Radios nos indican estas nuevas distancias, como entre 1:1 y 6:5 acomodamos los nuevos Radios 9:8, 10:9 y 16:15, así como entre 5:3 y 2:1 se añadirán 9:5, 15:8 y 16:9, y sacando la diferencia entre éstos podemos tener más y más nuevos Radios repartiéndose de manera simétrica.

&lt;pre&gt;
Cents   –  Radio   –   Diferencia – Diferencia en cents

0 --------- 1:1 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
111.7 ---- 16:15 --------------------------------------
-------------------------- 25:24 --------- 70.7 -------
182.4 ---- 10:9 ---------------------------------------
-------------------------- 81:80 --------- 21.5 -------
203.9 ----- 9:8 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
315.6 ----- 6:5 ---------------------------------------
-------------------------- 25:24 --------- 70.7 -------
386.3 ----- 5:4 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
498.0 ----- 4:3 ---------------------------------------
--------------------------- 9:8 --------- 103.9 -------
702.0 ----- 3:2 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
813.7 ----- 8:5 ---------------------------------------
-------------------------- 25:24 --------- 70.5 -------
884.4 ----- 5:3 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
996.1 ---- 16:9 ---------------------------------------
-------------------------- 81:80 --------- 21.5 -------
1017.6 ---- 9:5 ---------------------------------------
-------------------------- 25:24 --------- 70.7 -------
1088.3 --- 15:8 ---------------------------------------
-------------------------- 16:15 -------- 111.7 -------
1200 ------ 2:1 ---------------------------------------
&lt;/pre&gt;

La cuestión de si el oído prefiere Radios compuestos de múltiplos de pequeños números primos, a un Radio de aproximadamente la misma distancia y números más pequeños pero con un primo más grande no se puede responder de manera categórica. Por ejemplo, de los intervalos 9:8 (203.9cents) y 8:7 (231.2cents), muy cercanos entre sí, considerando una relación melódica, el oído preferirá 9:8 en el que los números se encuentran dentro el Límite 3. Sin embargo 8:7 funciona de una manera muy interesante en la música arábiga, como sonoridad independiente, con armonía parcialmente dentro del Límite 7. La percepción de este intervalo como utilizable es un hecho cultural y un gusto adquirido.

Como involucran Radios de números múltiplos, las ocho nuevas tonalidades (cuatro Otonalidades y cuatro Utonalidades) dentro el Límite 5 serán llamadas Tonalidades Secundarias.

Otonalidad (hacia arriba)

&lt;pre&gt;
Odentidad 1   –    Odentidad 5   –   Odentidad 3

 3:2 ---------------- 15:8 ---------------- 9:8

 6:5 ----------------- 3:2 ---------------- 9:5

16:9 ---------------- 10:9----------------- 4:3

16:15 ---------------- 4:3 ---------------- 8:5

------------5:4-------------------6:5----------
&lt;/pre&gt;

En la Otonalidad secundaria 3:2, sabemos que 3 representa la Odentidad 1, entonces la Odentidad 5 debe ser 3*5=15 y la Odentidad 3*3=9. El Nexo Numérico de esta Otonalidad es 1.

En la Otonalidad 6:5, 6 representa la Odentidad 1, 6*5=30 es la Odentidad 5, 6*3=18 la Odentidad 3. El Nexo Numérico de esta Otonalidad es 5. Se expresa mejor como 6:5, 30:20, 18:10.

Utonalidad (hacia abajo)

&lt;pre&gt;
Udentidad 1   –    Udentidad 5   –  Udentidad 3

 4:3 ----------------- 16:15 ------------- 16:9

 5:3 ------------------ 4:3 -------------- 10:9

 9:8 ------------------ 9:5 --------------- 3:2

15:8 ------------------ 3:2 --------------- 5:4

------------5:4------------------6:5-----------
&lt;/pre&gt;

En la Utonalidad bajo 15:8, sabemos que 8 representa la Udentidad 1, 8*5=40 es la Udentidad 5 y 8*3=24 es la Udentidad 3. El Nexo Numérico es 15. Se expresa mejor como 15:8, 60:40 y 30:24.

Los intervalos entre Identidades son siempre 5:4 y 6:5, hacia arriba para Otonalidades, descendiendo para Utonalidades. Como ejemplo, la Otonalidad 16:15 elevada 5:4 es (16:15)*(5:4)=80:60=4:3 y 4:3 elevado 6:5 es (4:3)*(6:5)=24:15=8:5. En la Utonalidad 15:8 descendida 5:4 es (15:8)*(4:5)=60:40=3:2 y 3:2 descendida 6:5 es (3:2)*(5:6)=15:12=5:4.

Dos posibles triadas secundarias se vuelven disponibles si insertamos 25:24 entre 1:1 y 16:15 y su complemento 48:25, que va entre 15:8 y 2:1, ambos Radios teniendo múltiplos dentro el Límite 5.

El Diamante Tonal no es nada más que un mapa conceptual de las acciones sonoras posibles y aceptadas, ideada por el Compositor y Teórico norteamericano Harry Partch, a este tipo de graficaciones le llamamos Entramado.

A Pesar que Partch presenta la Otonalidad y Utonalidad como conceptos simétricos, esto sólo se da en un nivel teórico, pues cuando se toca una Otonalidad en el plano material, ésta se percibe más consonante que su similar Utonalidad debido a la presencia del efecto de la Fundamental Perdida. En una Otonalidad, todas las notas son elementos de la Serie Armónica, así que activan la presencia de la Fundamental Perdida aunque sean armónicos de un tono complejo. Los acordes Utonales, aunque contienen las mismas diadas que los acordes Otonales, no tienden a activar el este fenómeno tan fuertemente.

Ya desde los desarrollos pitagóricos, se tendía a utilizar la distribución de los Radios en proporciones simples y emparentadas, un ejemplo de esto es el Lambdoma, que se logra con una distribución de los Radios desde 1 u otro número, de arriba a abajo, como centro del Diamante Lambdoma.

&lt;pre&gt;
[ 1:1 ]

[ ... ... [ 1:1 ]

[ ... ... ... ... [ 1:1 ]
&lt;/pre&gt;

Hacia abajo se desenvuelven Radios en un orden numérico libre, la línea vertical con Radios descendentes y la horizontal con Radios ascendentes.

&lt;pre&gt;
[ 1:1 ] 2:1 ] 3:1 ]

[ 1:2 [ 1:1 ] ... ...

[ 1:3 [ ... ... [ 1:1 ]
&lt;/pre&gt;

Seguidamente se combinan los Radios intermedios, por ejemplo en la segunda línea horizontal, mezclamos 3 con 2, obteniendo 3:2, así como en la tercera fila mezclamos 2 con 3, obteniendo 2:3.

&lt;pre&gt;
[ 1:1 ] 2:1 ] 3:1 ]

[ 1:2 [ 1:1 ] 3:2 ]

[ 1:3 [ 2:3 [ 1:1 ]
&lt;/pre&gt;

Esto es un Lambdoma hasta el Límite 3. Podemos extendernos un poco más y tener una tabla incluyendo el número 4, que es duplicidad de 2, así como 2 es duplicidad de 1. Mezclando 2 y 4, obtenemos 2:4=1:2, lo mismo para su contraparte ascendente 4:2=2:1.

&lt;pre&gt;
[ 1:1 ] 2:1 ] 3:1 ] 4:1 ]

[ 1:2 [ 1:1 ] 3:2 ] 2:1 ]

[ 1:3 [ 2:3 [ 1:1 ] 4:3 ]

[ 1:4 [ 1:2 [ 3:4 [ 1:1 ]
&lt;/pre&gt;

Hay que recalcar que Pitágoras no dejó ningún escrito y la mayoría de los datos que sabemos de él se escribieron más de cien años después de su muerte, sin embargo sabemos de la existencia del Lambdoma o Tabla Pitagórica por la tradición musical y matemática que se manejó en Grecia durante siglos, atribuída al mismo.

[[file:monocordio.jpg]]

Robert Fludd – Utriusque Cosmi Historia – El instrumento está dividido en una octava superior, ideal, activa, y una octava inferior, material, pasiva. Ambas octavas se dividen a su vez en cuartas y quintas. El principio inmaterial superior se mueve a lo largo de los intervalos hasta la materia sombría, y el sol, en el punto de intersección, recibe una fuerza transformadora (Alexander Roob, Alquimia y Mística, Taschen 1997).</text>
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  <page>
    <title>Herramientas Útiles</title>
    <ns>0</ns>
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    <revision>
      <id>200</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
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&lt;span style="display: block; text-align: right;"&gt;[[Useful_Tools|English]]&lt;/span&gt;

&lt;/span&gt;&lt;span style="background-color: #ffffff; display: block; font-size: 13.28px;"&gt;

=Software para la manipulación de las escalas y afinaciones=
&lt;ul&gt;&lt;li&gt;[http://www.huygens-fokker.org/scala/ Scala] - software estándar para crear, manipular y analizar afinaciones&lt;ul&gt;&lt;li&gt;[http://en.wikipedia.org/wiki/Scala_%28program%29 Artículo de Wikipedia sobre el Scala]&lt;/li&gt;&lt;li&gt;instrucciones para la [[Creating_Scala_scl_files_for_rank_two_temperaments|creación de archivos SCL(Scala) de Temperamentos Rango 2]]&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;li&gt;[http://www.tallkite.com/alt-tuner.html alt-tuner] - un plug-in que hace adaptaciones de afinación, sobre la marcha, y análisis de escala, por Kite Giedraitis&lt;/li&gt;&lt;li&gt;[http://x31eq.com/temper/ Buscador de temperamento] - sitio por [[Graham_Breed|Graham Breed]]&lt;/li&gt;&lt;li&gt;[http://tonalsoft.com/tonescape.aspx Tonescape] - para composición musical, análisis y herramienta educativa, por Joe Monzo -&lt;/li&gt;&lt;li&gt;[http://robertinventor.com/software/tunesmithy/music.htm Metrónomo Fractal Tune Smithy y Bounce Metronome] - por Robert Walker&lt;/li&gt;&lt;li&gt;[http://www.microtonalsoftware.com/ Convertidor SCL a TUN y MTS en línea] - por MicrotonalSoftware.com&lt;/li&gt;&lt;/ul&gt;

=herramientas de ajuste basados ​​en navegador (JavaScript, etc.)=
&lt;ul&gt;&lt;li&gt;[[Interval_calculator|Calculadora Interválica]] - una buena calculadora interválica en línea, muestra la fracción lineal y desarrollo en fracciones EDO&lt;/li&gt;&lt;li&gt;[http://www.untwelve.org/static/javascript_demos/sb_tree.html?start=0,1,1,0 árbol de escalas de Stern-Brocot (sólo Firefox)]&lt;/li&gt;&lt;li&gt;[http://www.untwelve.org/static/javascript_demos/MOSring.html Demo del anillo de MOS animados]&lt;/li&gt;&lt;li&gt;[http://sjoerdvisscher.handcraft.com/keyboard.html Demostración teclado hexagonal] - por Sjoerd Visscher&lt;/li&gt;&lt;li&gt;[http://micro.soonlabel.com/Scott_Thompson/edjiruler.html v0.0.1 edjiruler] - visualizar intervalos de Entonación Justa cerca de divisiones equitativas de números enteros&lt;/li&gt;&lt;li&gt;[http://micro.soonlabel.com/Scott_Thompson/r2rtg.html Generador de Temperamentos Regulares Rango 2 ] - generar temperamentos regulares rango 2&lt;/li&gt;&lt;li&gt;[http://ia801408.us.archive.org/1/items/mosedo.html/mosedo.html?p=12&amp;g=5 MOSedo] - Momentos de simetría en EDOs&lt;/li&gt;&lt;li&gt;[http://www.mikebattagliamusic.com/HE-JS/HE.html Calculadora de Entropía Armónica] - curvas interactivas de Entropía Armónica&lt;/li&gt;&lt;li&gt;[http://musictheory.zentral.zone/huntsystemcalc.html Las calculadoras en línea H-System] - Caza entonación calidad promedio de calificaciones (IQGPA) calculadora&lt;/li&gt;&lt;li&gt;[http://www.microtonalsoftware.com/scale-tree.html Microtonal Software de Árbol de Escalas]&lt;/li&gt;&lt;li&gt;[http://www.toverlamp.org/static/wickisynth/wickisynth.html Wickisynth] - sintetizador demo con disposición de teclas Wicki-Hayden&lt;/li&gt;&lt;li&gt;[https://academo.org/demos/19-tet-keyboard/ Teclado en línea 19-edo]&lt;/li&gt;&lt;li&gt;[http://www.brandlew.com/keyboard/keys.htm?fundamental=440&amp;right=3&amp;upright=10&amp;size=60&amp;rotation=343.863&amp;instrument=rhodes&amp;enum=false&amp;equivSteps=17&amp;no_labels=false&amp;spectrum_colors=false&amp;fundamental_color=#41ff2e&amp;scale=!%20wilcent17.scl%0A!%0A11-limit%2017%20tone%20scale%20by%20Erv%20Wilson%0A!%20Fokblock(%5B64%2F63%2C%2056%2F55%2C%20968%2F945%2C%2036%2F35%5D%2C%20%5B5%2C%206%2C%2011%2C%206%5D)%20%3D%20%0A!%20Fokblock(%5B64%2F63%2C%2056%2F55%2C%2036%2F35%2C%20704%2F675%5D%2C%20%5B5%2C%203%2C%206%2C%2011%5D)%20%3D%0A!%20Fokblock(%5B64%2F63%2C%20968%2F945%2C%2036%2F35%2C%20704%2F675%5D%2C%20%5B5%2C%2013%2C%206%2C%206%5D)%20wakalix%0A17%0A!%0A22%2F21%0A11%2F10%0A9%2F8%0A7%2F6%0A11%2F9%0A5%2F4%0A4%2F3%0A11%2F8%0A22%2F15%0A3%2F2%0A11%2F7%0A44%2F27%0A5%2F3%0A7%2F4%0A11%2F6%0A15%2F8%0A2%2F1&amp;names=R%0A22%2F21%0A11%2F10%0A9%2F8%0A7%2F6%0A11%2F9%0A5%2F4%0A4%2F3%0A11%2F8%0A22%2F15%0A3%2F2%0A11%2F7%0A44%2F27%0A5%2F3%0A7%2F4%0A11%2F6%0A15%2F8&amp;note_colors=47A2FF%0AFFE496%0AFFC37D%0A47A2FF%0AFFE496%0AFFC37D%0A47A2FF%0A47A2FF%0AFFC37D%0AFFC37D%0A47A2FF%0AFFE496%0AFFC37D%0A47A2FF%0AFFE496%0AFFC37D%0A47A2FF Quiero un Terpstra!] - Teclado Terpstra Online&lt;/li&gt;&lt;li&gt;[http://microtone.isans.net/ Microtono] - demostración de un teclado uniforme en HTML5 con cualquier temperamento igual&lt;/li&gt;&lt;li&gt;[http://the-monochord.rhcloud.com/ El monocordio] - Pruebe sólo intervalos de una frecuencia base&lt;/li&gt;&lt;li&gt;[http://fritzo.org/keys/#style=piano Racional del teclado] - Teclado de Entonación Justa con teclas que crecen en tamaño&lt;/li&gt;&lt;li&gt;[http://www.jhhl.net/tonespiral.html Tonespiral] - Escucha armónicos y visualízalos como una espiral&lt;/li&gt;&lt;li&gt;[[Wolfram_Alpha_Regular_Temperament_Widgets|Wolfram Alpha Widgets temperamento regular]]&lt;/li&gt;&lt;/ul&gt;

=Herramientas útiles para las matemáticas en general=
&lt;ul&gt;&lt;li&gt;[http://www.sengpielaudio.com/calculator-centsratio.htm Calculadora Cents a Radios] - y mucho más! Además, [http://robertinventor.com/software/tunesmithy/help/cents_and_ratios.htm otro] con instrucciones extensas.&lt;/li&gt;&lt;li&gt;[http://www.numberempire.com/fractionscalculator.php Calculadora de Expresión de fracciones] - aritmética de Radios fácil de hacer&lt;/li&gt;&lt;li&gt;[http://www.maths.surrey.ac.uk/hosted-sites/R.Knott/Fibonacci/cfCALC.html Calculadora de fracción continuada]&lt;/li&gt;&lt;li&gt;[http://www.mindspring.com/~alanh/fracs.html Decimal a Radio, para aproximación de fracciones]&lt;/li&gt;&lt;li&gt;[http://www.calculatorsoup.com/calculators/math/lcd.php Calculadora del Mínimo común denominador de las fracciones (LCD)] - introduzca sus Radios aquí!&lt;/li&gt;&lt;li&gt;[http://www.gnu.org/software/octave/ Octave] - un programa libre, de código abierto equivalente a MATLAB; útil para trabajar con matrices y mucho más&lt;/li&gt;&lt;li&gt;[http://www.wolframalpha.com/ Wolfram Alpha] - para realizar una variedad de cálculos matemáticos intensivos en su navegador&lt;/li&gt;&lt;li&gt;[http://www.codecogs.com/latex/eqneditor.php LaTeX Editor de ecuaciones en línea] - crear expresiones matemáticas en formato LaTeX para las páginas wiki, etc.&lt;/li&gt;&lt;/ul&gt;&lt;/span&gt;</text>
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      <id>201</id>
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      <contributor>
        <username>Mike Battaglia</username>
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      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
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      <text bytes="6043" sha1="20h31xu9pawughoskwupp3e965ogvtc" xml:space="preserve">&lt;span style="background-color: #ffffff; color: #333333; display: block;"&gt;

&lt;span style="display: block; text-align: right;"&gt;[[Useful_Tools|English]]&lt;/span&gt;

&lt;/span&gt;&lt;span style="background-color: #ffffff; display: block; font-size: 13.28px;"&gt;

=Software para la manipulación de las escalas y afinaciones=
&lt;ul&gt;&lt;li&gt;[http://www.huygens-fokker.org/scala/ Scala] - software estándar para crear, manipular y analizar afinaciones&lt;ul&gt;&lt;li&gt;[http://en.wikipedia.org/wiki/Scala_%28program%29 Artículo de Wikipedia sobre el Scala]&lt;/li&gt;&lt;li&gt;instrucciones para la [[Creating_Scala_scl_files_for_rank_two_temperaments|creación de archivos SCL(Scala) de Temperamentos Rango 2]]&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;li&gt;[http://www.tallkite.com/alt-tuner.html alt-tuner] - un plug-in que hace adaptaciones de afinación, sobre la marcha, y análisis de escala, por Kite Giedraitis&lt;/li&gt;&lt;li&gt;[http://x31eq.com/temper/ Buscador de temperamento] - sitio por [[Graham_Breed|Graham Breed]]&lt;/li&gt;&lt;li&gt;[http://tonalsoft.com/tonescape.aspx Tonescape] - para composición musical, análisis y herramienta educativa, por Joe Monzo -&lt;/li&gt;&lt;li&gt;[http://robertinventor.com/software/tunesmithy/music.htm Metrónomo Fractal Tune Smithy y Bounce Metronome] - por Robert Walker&lt;/li&gt;&lt;li&gt;[http://www.microtonalsoftware.com/ Convertidor SCL a TUN y MTS en línea] - por MicrotonalSoftware.com&lt;/li&gt;&lt;/ul&gt;

=herramientas de ajuste basados ​​en navegador (JavaScript, etc.)=
&lt;ul&gt;&lt;li&gt;[[Interval_calculator|Calculadora Interválica]] - una buena calculadora interválica en línea, muestra la fracción lineal y desarrollo en fracciones EDO&lt;/li&gt;&lt;li&gt;[http://www.untwelve.org/static/javascript_demos/sb_tree.html?start=0,1,1,0 árbol de escalas de Stern-Brocot (sólo Firefox)]&lt;/li&gt;&lt;li&gt;[http://www.untwelve.org/static/javascript_demos/MOSring.html Demo del anillo de MOS animados]&lt;/li&gt;&lt;li&gt;[http://sjoerdvisscher.handcraft.com/keyboard.html Demostración teclado hexagonal] - por Sjoerd Visscher&lt;/li&gt;&lt;li&gt;[http://micro.soonlabel.com/Scott_Thompson/edjiruler.html v0.0.1 edjiruler] - visualizar intervalos de Entonación Justa cerca de divisiones equitativas de números enteros&lt;/li&gt;&lt;li&gt;[http://micro.soonlabel.com/Scott_Thompson/r2rtg.html Generador de Temperamentos Regulares Rango 2 ] - generar temperamentos regulares rango 2&lt;/li&gt;&lt;li&gt;[http://ia801408.us.archive.org/1/items/mosedo.html/mosedo.html?p=12&amp;g=5 MOSedo] - Momentos de simetría en EDOs&lt;/li&gt;&lt;li&gt;[http://www.mikebattagliamusic.com/HE-JS/HE.html Calculadora de Entropía Armónica] - curvas interactivas de Entropía Armónica&lt;/li&gt;&lt;li&gt;[http://musictheory.zentral.zone/huntsystemcalc.html Las calculadoras en línea H-System] - Caza entonación calidad promedio de calificaciones (IQGPA) calculadora&lt;/li&gt;&lt;li&gt;[http://www.microtonalsoftware.com/scale-tree.html Microtonal Software de Árbol de Escalas]&lt;/li&gt;&lt;li&gt;[http://www.toverlamp.org/static/wickisynth/wickisynth.html Wickisynth] - sintetizador demo con disposición de teclas Wicki-Hayden&lt;/li&gt;&lt;li&gt;[https://academo.org/demos/19-tet-keyboard/ Teclado en línea 19-edo]&lt;/li&gt;&lt;li&gt;[http://www.brandlew.com/keyboard/keys.htm?fundamental=440&amp;right=3&amp;upright=10&amp;size=60&amp;rotation=343.863&amp;instrument=rhodes&amp;enum=false&amp;equivSteps=17&amp;no_labels=false&amp;spectrum_colors=false&amp;fundamental_color=#41ff2e&amp;scale=!%20wilcent17.scl%0A!%0A11-limit%2017%20tone%20scale%20by%20Erv%20Wilson%0A!%20Fokblock(%5B64%2F63%2C%2056%2F55%2C%20968%2F945%2C%2036%2F35%5D%2C%20%5B5%2C%206%2C%2011%2C%206%5D)%20%3D%20%0A!%20Fokblock(%5B64%2F63%2C%2056%2F55%2C%2036%2F35%2C%20704%2F675%5D%2C%20%5B5%2C%203%2C%206%2C%2011%5D)%20%3D%0A!%20Fokblock(%5B64%2F63%2C%20968%2F945%2C%2036%2F35%2C%20704%2F675%5D%2C%20%5B5%2C%2013%2C%206%2C%206%5D)%20wakalix%0A17%0A!%0A22%2F21%0A11%2F10%0A9%2F8%0A7%2F6%0A11%2F9%0A5%2F4%0A4%2F3%0A11%2F8%0A22%2F15%0A3%2F2%0A11%2F7%0A44%2F27%0A5%2F3%0A7%2F4%0A11%2F6%0A15%2F8%0A2%2F1&amp;names=R%0A22%2F21%0A11%2F10%0A9%2F8%0A7%2F6%0A11%2F9%0A5%2F4%0A4%2F3%0A11%2F8%0A22%2F15%0A3%2F2%0A11%2F7%0A44%2F27%0A5%2F3%0A7%2F4%0A11%2F6%0A15%2F8&amp;note_colors=47A2FF%0AFFE496%0AFFC37D%0A47A2FF%0AFFE496%0AFFC37D%0A47A2FF%0A47A2FF%0AFFC37D%0AFFC37D%0A47A2FF%0AFFE496%0AFFC37D%0A47A2FF%0AFFE496%0AFFC37D%0A47A2FF Quiero un Terpstra!] - Teclado Terpstra Online&lt;/li&gt;&lt;li&gt;[http://microtone.isans.net/ Microtono] - demostración de un teclado uniforme en HTML5 con cualquier temperamento igual&lt;/li&gt;&lt;li&gt;[http://the-monochord.rhcloud.com/ El monocordio] - Pruebe sólo intervalos de una frecuencia base&lt;/li&gt;&lt;li&gt;[http://fritzo.org/keys/#style=piano Racional del teclado] - Teclado de Entonación Justa con teclas que crecen en tamaño&lt;/li&gt;&lt;li&gt;[http://www.jhhl.net/tonespiral.html Tonespiral] - Escucha armónicos y visualízalos como una espiral&lt;/li&gt;&lt;li&gt;[[Wolfram_Alpha_Regular_Temperament_Widgets|Wolfram Alpha Widgets temperamento regular]]&lt;/li&gt;&lt;/ul&gt;

=Herramientas útiles para las matemáticas en general=
&lt;ul&gt;&lt;li&gt;[http://www.sengpielaudio.com/calculator-centsratio.htm Calculadora Cents a Radios] - y mucho más! Además, [http://robertinventor.com/software/tunesmithy/help/cents_and_ratios.htm otro] con instrucciones extensas.&lt;/li&gt;&lt;li&gt;[http://www.numberempire.com/fractionscalculator.php Calculadora de Expresión de fracciones] - aritmética de Radios fácil de hacer&lt;/li&gt;&lt;li&gt;[http://www.maths.surrey.ac.uk/hosted-sites/R.Knott/Fibonacci/cfCALC.html Calculadora de fracción continuada]&lt;/li&gt;&lt;li&gt;[http://www.mindspring.com/~alanh/fracs.html Decimal a Radio, para aproximación de fracciones]&lt;/li&gt;&lt;li&gt;[http://www.calculatorsoup.com/calculators/math/lcd.php Calculadora del Mínimo común denominador de las fracciones (LCD)] - introduzca sus Radios aquí!&lt;/li&gt;&lt;li&gt;[http://www.gnu.org/software/octave/ Octave] - un programa libre, de código abierto equivalente a MATLAB; útil para trabajar con matrices y mucho más&lt;/li&gt;&lt;li&gt;[http://www.wolframalpha.com/ Wolfram Alpha] - para realizar una variedad de cálculos matemáticos intensivos en su navegador&lt;/li&gt;&lt;li&gt;[http://www.codecogs.com/latex/eqneditor.php LaTeX Editor de ecuaciones en línea] - crear expresiones matemáticas en formato LaTeX para las páginas wiki, etc.&lt;/li&gt;&lt;/ul&gt;&lt;/span&gt;</text>
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      <parentid>201</parentid>
      <timestamp>2020-02-28T18:52:05Z</timestamp>
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        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>interwiki via template</comment>
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=Software para la manipulación de las escalas y afinaciones=
&lt;ul&gt;&lt;li&gt;[http://www.huygens-fokker.org/scala/ Scala] - software estándar para crear, manipular y analizar afinaciones&lt;ul&gt;&lt;li&gt;[http://en.wikipedia.org/wiki/Scala_%28program%29 Artículo de Wikipedia sobre el Scala]&lt;/li&gt;&lt;li&gt;instrucciones para la [[Creating_Scala_scl_files_for_rank_two_temperaments|creación de archivos SCL(Scala) de Temperamentos Rango 2]]&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;li&gt;[http://www.tallkite.com/alt-tuner.html alt-tuner] - un plug-in que hace adaptaciones de afinación, sobre la marcha, y análisis de escala, por Kite Giedraitis&lt;/li&gt;&lt;li&gt;[http://x31eq.com/temper/ Buscador de temperamento] - sitio por [[Graham_Breed|Graham Breed]]&lt;/li&gt;&lt;li&gt;[http://tonalsoft.com/tonescape.aspx Tonescape] - para composición musical, análisis y herramienta educativa, por Joe Monzo -&lt;/li&gt;&lt;li&gt;[http://robertinventor.com/software/tunesmithy/music.htm Metrónomo Fractal Tune Smithy y Bounce Metronome] - por Robert Walker&lt;/li&gt;&lt;li&gt;[http://www.microtonalsoftware.com/ Convertidor SCL a TUN y MTS en línea] - por MicrotonalSoftware.com&lt;/li&gt;&lt;/ul&gt;

=herramientas de ajuste basados ​​en navegador (JavaScript, etc.)=
&lt;ul&gt;&lt;li&gt;[[Interval_calculator|Calculadora Interválica]] - una buena calculadora interválica en línea, muestra la fracción lineal y desarrollo en fracciones EDO&lt;/li&gt;&lt;li&gt;[http://www.untwelve.org/static/javascript_demos/sb_tree.html?start=0,1,1,0 árbol de escalas de Stern-Brocot (sólo Firefox)]&lt;/li&gt;&lt;li&gt;[http://www.untwelve.org/static/javascript_demos/MOSring.html Demo del anillo de MOS animados]&lt;/li&gt;&lt;li&gt;[http://sjoerdvisscher.handcraft.com/keyboard.html Demostración teclado hexagonal] - por Sjoerd Visscher&lt;/li&gt;&lt;li&gt;[http://micro.soonlabel.com/Scott_Thompson/edjiruler.html v0.0.1 edjiruler] - visualizar intervalos de Entonación Justa cerca de divisiones equitativas de números enteros&lt;/li&gt;&lt;li&gt;[http://micro.soonlabel.com/Scott_Thompson/r2rtg.html Generador de Temperamentos Regulares Rango 2 ] - generar temperamentos regulares rango 2&lt;/li&gt;&lt;li&gt;[http://ia801408.us.archive.org/1/items/mosedo.html/mosedo.html?p=12&amp;g=5 MOSedo] - Momentos de simetría en EDOs&lt;/li&gt;&lt;li&gt;[http://www.mikebattagliamusic.com/HE-JS/HE.html Calculadora de Entropía Armónica] - curvas interactivas de Entropía Armónica&lt;/li&gt;&lt;li&gt;[http://musictheory.zentral.zone/huntsystemcalc.html Las calculadoras en línea H-System] - Caza entonación calidad promedio de calificaciones (IQGPA) calculadora&lt;/li&gt;&lt;li&gt;[http://www.microtonalsoftware.com/scale-tree.html Microtonal Software de Árbol de Escalas]&lt;/li&gt;&lt;li&gt;[http://www.toverlamp.org/static/wickisynth/wickisynth.html Wickisynth] - sintetizador demo con disposición de teclas Wicki-Hayden&lt;/li&gt;&lt;li&gt;[https://academo.org/demos/19-tet-keyboard/ Teclado en línea 19-edo]&lt;/li&gt;&lt;li&gt;[http://www.brandlew.com/keyboard/keys.htm?fundamental=440&amp;right=3&amp;upright=10&amp;size=60&amp;rotation=343.863&amp;instrument=rhodes&amp;enum=false&amp;equivSteps=17&amp;no_labels=false&amp;spectrum_colors=false&amp;fundamental_color=#41ff2e&amp;scale=!%20wilcent17.scl%0A!%0A11-limit%2017%20tone%20scale%20by%20Erv%20Wilson%0A!%20Fokblock(%5B64%2F63%2C%2056%2F55%2C%20968%2F945%2C%2036%2F35%5D%2C%20%5B5%2C%206%2C%2011%2C%206%5D)%20%3D%20%0A!%20Fokblock(%5B64%2F63%2C%2056%2F55%2C%2036%2F35%2C%20704%2F675%5D%2C%20%5B5%2C%203%2C%206%2C%2011%5D)%20%3D%0A!%20Fokblock(%5B64%2F63%2C%20968%2F945%2C%2036%2F35%2C%20704%2F675%5D%2C%20%5B5%2C%2013%2C%206%2C%206%5D)%20wakalix%0A17%0A!%0A22%2F21%0A11%2F10%0A9%2F8%0A7%2F6%0A11%2F9%0A5%2F4%0A4%2F3%0A11%2F8%0A22%2F15%0A3%2F2%0A11%2F7%0A44%2F27%0A5%2F3%0A7%2F4%0A11%2F6%0A15%2F8%0A2%2F1&amp;names=R%0A22%2F21%0A11%2F10%0A9%2F8%0A7%2F6%0A11%2F9%0A5%2F4%0A4%2F3%0A11%2F8%0A22%2F15%0A3%2F2%0A11%2F7%0A44%2F27%0A5%2F3%0A7%2F4%0A11%2F6%0A15%2F8&amp;note_colors=47A2FF%0AFFE496%0AFFC37D%0A47A2FF%0AFFE496%0AFFC37D%0A47A2FF%0A47A2FF%0AFFC37D%0AFFC37D%0A47A2FF%0AFFE496%0AFFC37D%0A47A2FF%0AFFE496%0AFFC37D%0A47A2FF Quiero un Terpstra!] - Teclado Terpstra Online&lt;/li&gt;&lt;li&gt;[http://microtone.isans.net/ Microtono] - demostración de un teclado uniforme en HTML5 con cualquier temperamento igual&lt;/li&gt;&lt;li&gt;[http://the-monochord.rhcloud.com/ El monocordio] - Pruebe sólo intervalos de una frecuencia base&lt;/li&gt;&lt;li&gt;[http://fritzo.org/keys/#style=piano Racional del teclado] - Teclado de Entonación Justa con teclas que crecen en tamaño&lt;/li&gt;&lt;li&gt;[http://www.jhhl.net/tonespiral.html Tonespiral] - Escucha armónicos y visualízalos como una espiral&lt;/li&gt;&lt;li&gt;[[Wolfram_Alpha_Regular_Temperament_Widgets|Wolfram Alpha Widgets temperamento regular]]&lt;/li&gt;&lt;/ul&gt;

=Herramientas útiles para las matemáticas en general=
&lt;ul&gt;&lt;li&gt;[http://www.sengpielaudio.com/calculator-centsratio.htm Calculadora Cents a Radios] - y mucho más! Además, [http://robertinventor.com/software/tunesmithy/help/cents_and_ratios.htm otro] con instrucciones extensas.&lt;/li&gt;&lt;li&gt;[http://www.numberempire.com/fractionscalculator.php Calculadora de Expresión de fracciones] - aritmética de Radios fácil de hacer&lt;/li&gt;&lt;li&gt;[http://www.maths.surrey.ac.uk/hosted-sites/R.Knott/Fibonacci/cfCALC.html Calculadora de fracción continuada]&lt;/li&gt;&lt;li&gt;[http://www.mindspring.com/~alanh/fracs.html Decimal a Radio, para aproximación de fracciones]&lt;/li&gt;&lt;li&gt;[http://www.calculatorsoup.com/calculators/math/lcd.php Calculadora del Mínimo común denominador de las fracciones (LCD)] - introduzca sus Radios aquí!&lt;/li&gt;&lt;li&gt;[http://www.gnu.org/software/octave/ Octave] - un programa libre, de código abierto equivalente a MATLAB; útil para trabajar con matrices y mucho más&lt;/li&gt;&lt;li&gt;[http://www.wolframalpha.com/ Wolfram Alpha] - para realizar una variedad de cálculos matemáticos intensivos en su navegador&lt;/li&gt;&lt;li&gt;[http://www.codecogs.com/latex/eqneditor.php LaTeX Editor de ecuaciones en línea] - crear expresiones matemáticas en formato LaTeX para las páginas wiki, etc.&lt;/li&gt;&lt;/ul&gt;&lt;/span&gt;</text>
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  </page>
  <page>
    <title>Monzo</title>
    <ns>0</ns>
    <id>57</id>
    <revision>
      <id>202</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
      </contributor>
      <origin>202</origin>
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      <text bytes="1016" sha1="lo01ozj5d6ndsd6g8rkrdo2utjc14dp" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[monzos|English]] - [[モンゾ|日本語]]&lt;/span&gt;

Otra notación de los Radios es el Monzo, llamado así por el teórico Joe Monzo: es un vector de los exponentes de factores primos, permitiendo la notación |a b c d e f … &amp;gt;, en la que se entienden los primos (1)2, 3, 5, 7, 11, 13, etc., en éste que es su orden natural, para contribuir a la factorización primal de cada Parcial hasta cierto Límite primo.

Por ejemplo el intervalo 15:8 puede ser pensado como teniendo 5*3 en el numerador y 2*2*2 en el denominador, lo que puede expresarse de manera más compacta anotando (2^-3)*(3^1)*(5^1) = 8:(3*5) = 15:8, construimos el Monzo tomando el exponente de cada primo, en orden, dentro | … &amp;gt;, teniendo |-3 1 1&amp;gt;. Un Monzo como |-4 4 -1&amp;gt; denota (2^-4)*(3^4)*(5^-1) = (16*5):81 = 81:80, el Coma Sintónico.

Como ejemplos 3:2 es |-1 1&amp;gt;, 5:4 es |-2 0 1&amp;gt;, 9:8 es |-3 2&amp;gt;, 7:4 es |-2 0 0 1&amp;gt;, 7:6 es |-1 -1 0 1&amp;gt;, 7:5 es |0 0 -1 1&amp;gt;, etc.</text>
      <sha1>lo01ozj5d6ndsd6g8rkrdo2utjc14dp</sha1>
    </revision>
    <revision>
      <id>203</id>
      <parentid>202</parentid>
      <timestamp>2018-10-01T18:57:42Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
      <origin>203</origin>
      <model>wikitext</model>
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      <text bytes="1016" sha1="lo01ozj5d6ndsd6g8rkrdo2utjc14dp" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[monzos|English]] - [[モンゾ|日本語]]&lt;/span&gt;

Otra notación de los Radios es el Monzo, llamado así por el teórico Joe Monzo: es un vector de los exponentes de factores primos, permitiendo la notación |a b c d e f … &amp;gt;, en la que se entienden los primos (1)2, 3, 5, 7, 11, 13, etc., en éste que es su orden natural, para contribuir a la factorización primal de cada Parcial hasta cierto Límite primo.

Por ejemplo el intervalo 15:8 puede ser pensado como teniendo 5*3 en el numerador y 2*2*2 en el denominador, lo que puede expresarse de manera más compacta anotando (2^-3)*(3^1)*(5^1) = 8:(3*5) = 15:8, construimos el Monzo tomando el exponente de cada primo, en orden, dentro | … &amp;gt;, teniendo |-3 1 1&amp;gt;. Un Monzo como |-4 4 -1&amp;gt; denota (2^-4)*(3^4)*(5^-1) = (16*5):81 = 81:80, el Coma Sintónico.

Como ejemplos 3:2 es |-1 1&amp;gt;, 5:4 es |-2 0 1&amp;gt;, 9:8 es |-3 2&amp;gt;, 7:4 es |-2 0 0 1&amp;gt;, 7:6 es |-1 -1 0 1&amp;gt;, 7:5 es |0 0 -1 1&amp;gt;, etc.</text>
      <sha1>lo01ozj5d6ndsd6g8rkrdo2utjc14dp</sha1>
    </revision>
    <revision>
      <id>234</id>
      <parentid>203</parentid>
      <timestamp>2018-10-02T17:29:32Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>interwiki</comment>
      <origin>234</origin>
      <model>wikitext</model>
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      <text bytes="1029" sha1="dw0oztjt8r6uk7yxuub5vbjiuyahgpq" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[モンゾ|日本語]]&lt;/span&gt;

Otra notación de los Radios es el Monzo, llamado así por el teórico Joe Monzo: es un vector de los exponentes de factores primos, permitiendo la notación |a b c d e f … &amp;gt;, en la que se entienden los primos (1)2, 3, 5, 7, 11, 13, etc., en éste que es su orden natural, para contribuir a la factorización primal de cada Parcial hasta cierto Límite primo.

Por ejemplo el intervalo 15:8 puede ser pensado como teniendo 5*3 en el numerador y 2*2*2 en el denominador, lo que puede expresarse de manera más compacta anotando (2^-3)*(3^1)*(5^1) = 8:(3*5) = 15:8, construimos el Monzo tomando el exponente de cada primo, en orden, dentro | … &amp;gt;, teniendo |-3 1 1&amp;gt;. Un Monzo como |-4 4 -1&amp;gt; denota (2^-4)*(3^4)*(5^-1) = (16*5):81 = 81:80, el Coma Sintónico.

Como ejemplos 3:2 es |-1 1&amp;gt;, 5:4 es |-2 0 1&amp;gt;, 9:8 es |-3 2&amp;gt;, 7:4 es |-2 0 0 1&amp;gt;, 7:6 es |-1 -1 0 1&amp;gt;, 7:5 es |0 0 -1 1&amp;gt;, etc.

&lt;!-- interwiki --&gt;
[[en:monzos]]</text>
      <sha1>dw0oztjt8r6uk7yxuub5vbjiuyahgpq</sha1>
    </revision>
    <revision>
      <id>235</id>
      <parentid>234</parentid>
      <timestamp>2018-10-02T17:30:26Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>linkfix japanese article</comment>
      <origin>235</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1033" sha1="1eamza3cj7d7n82809vizp5pl03gu26" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[:en:モンゾ|日本語]]&lt;/span&gt;

Otra notación de los Radios es el Monzo, llamado así por el teórico Joe Monzo: es un vector de los exponentes de factores primos, permitiendo la notación |a b c d e f … &amp;gt;, en la que se entienden los primos (1)2, 3, 5, 7, 11, 13, etc., en éste que es su orden natural, para contribuir a la factorización primal de cada Parcial hasta cierto Límite primo.

Por ejemplo el intervalo 15:8 puede ser pensado como teniendo 5*3 en el numerador y 2*2*2 en el denominador, lo que puede expresarse de manera más compacta anotando (2^-3)*(3^1)*(5^1) = 8:(3*5) = 15:8, construimos el Monzo tomando el exponente de cada primo, en orden, dentro | … &amp;gt;, teniendo |-3 1 1&amp;gt;. Un Monzo como |-4 4 -1&amp;gt; denota (2^-4)*(3^4)*(5^-1) = (16*5):81 = 81:80, el Coma Sintónico.

Como ejemplos 3:2 es |-1 1&amp;gt;, 5:4 es |-2 0 1&amp;gt;, 9:8 es |-3 2&amp;gt;, 7:4 es |-2 0 0 1&amp;gt;, 7:6 es |-1 -1 0 1&amp;gt;, 7:5 es |0 0 -1 1&amp;gt;, etc.

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[[en:monzos]]</text>
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      <timestamp>2018-10-02T17:31:00Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>Xenwolf trasladó la página [[Monzo(Esp)]] a [[Monzo]]: all pages here are Esp</comment>
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      <text bytes="1033" sha1="1eamza3cj7d7n82809vizp5pl03gu26" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[:en:モンゾ|日本語]]&lt;/span&gt;

Otra notación de los Radios es el Monzo, llamado así por el teórico Joe Monzo: es un vector de los exponentes de factores primos, permitiendo la notación |a b c d e f … &amp;gt;, en la que se entienden los primos (1)2, 3, 5, 7, 11, 13, etc., en éste que es su orden natural, para contribuir a la factorización primal de cada Parcial hasta cierto Límite primo.

Por ejemplo el intervalo 15:8 puede ser pensado como teniendo 5*3 en el numerador y 2*2*2 en el denominador, lo que puede expresarse de manera más compacta anotando (2^-3)*(3^1)*(5^1) = 8:(3*5) = 15:8, construimos el Monzo tomando el exponente de cada primo, en orden, dentro | … &amp;gt;, teniendo |-3 1 1&amp;gt;. Un Monzo como |-4 4 -1&amp;gt; denota (2^-4)*(3^4)*(5^-1) = (16*5):81 = 81:80, el Coma Sintónico.

Como ejemplos 3:2 es |-1 1&amp;gt;, 5:4 es |-2 0 1&amp;gt;, 9:8 es |-3 2&amp;gt;, 7:4 es |-2 0 0 1&amp;gt;, 7:6 es |-1 -1 0 1&amp;gt;, 7:5 es |0 0 -1 1&amp;gt;, etc.

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      <id>239</id>
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      <timestamp>2018-10-02T18:26:37Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>+interwiki:de</comment>
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      <text bytes="1055" sha1="89ty8t5tksupzbt09qhm3z8jsk3qhxs" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[:en:モンゾ|日本語]]&lt;/span&gt;

Otra notación de los Radios es el Monzo, llamado así por el teórico Joe Monzo: es un vector de los exponentes de factores primos, permitiendo la notación |a b c d e f … &amp;gt;, en la que se entienden los primos (1)2, 3, 5, 7, 11, 13, etc., en éste que es su orden natural, para contribuir a la factorización primal de cada Parcial hasta cierto Límite primo.

Por ejemplo el intervalo 15:8 puede ser pensado como teniendo 5*3 en el numerador y 2*2*2 en el denominador, lo que puede expresarse de manera más compacta anotando (2^-3)*(3^1)*(5^1) = 8:(3*5) = 15:8, construimos el Monzo tomando el exponente de cada primo, en orden, dentro | … &amp;gt;, teniendo |-3 1 1&amp;gt;. Un Monzo como |-4 4 -1&amp;gt; denota (2^-4)*(3^4)*(5^-1) = (16*5):81 = 81:80, el Coma Sintónico.

Como ejemplos 3:2 es |-1 1&amp;gt;, 5:4 es |-2 0 1&amp;gt;, 9:8 es |-3 2&amp;gt;, 7:4 es |-2 0 0 1&amp;gt;, 7:6 es |-1 -1 0 1&amp;gt;, 7:5 es |0 0 -1 1&amp;gt;, etc.

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      <timestamp>2018-10-14T22:07:09Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>replaced interwiki solution</comment>
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      <text bytes="995" sha1="b02xvr8ncj9bi08cpcznylg3e7nmiig" xml:space="preserve">{{interwiki
| de = Monzo-Notation
| en = Monzos
| es = Monzo
| ja = モンゾ
}}
Otra notación de los Radios es el Monzo, llamado así por el teórico Joe Monzo: es un vector de los exponentes de factores primos, permitiendo la notación |a b c d e f … &amp;gt;, en la que se entienden los primos (1)2, 3, 5, 7, 11, 13, etc., en éste que es su orden natural, para contribuir a la factorización primal de cada Parcial hasta cierto Límite primo.

Por ejemplo el intervalo 15:8 puede ser pensado como teniendo 5*3 en el numerador y 2*2*2 en el denominador, lo que puede expresarse de manera más compacta anotando (2^-3)*(3^1)*(5^1) = 8:(3*5) = 15:8, construimos el Monzo tomando el exponente de cada primo, en orden, dentro | … &amp;gt;, teniendo |-3 1 1&amp;gt;. Un Monzo como |-4 4 -1&amp;gt; denota (2^-4)*(3^4)*(5^-1) = (16*5):81 = 81:80, el Coma Sintónico.

Como ejemplos 3:2 es |-1 1&amp;gt;, 5:4 es |-2 0 1&amp;gt;, 9:8 es |-3 2&amp;gt;, 7:4 es |-2 0 0 1&amp;gt;, 7:6 es |-1 -1 0 1&amp;gt;, 7:5 es |0 0 -1 1&amp;gt;, etc.</text>
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    <revision>
      <id>282</id>
      <parentid>280</parentid>
      <timestamp>2018-10-14T22:18:31Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>monzo notation simplified</comment>
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      <text bytes="968" sha1="3e8acrsffmttnl2xd63xpm73ihj680y" xml:space="preserve">{{interwiki
| de = Monzo-Notation
| en = Monzos
| es = Monzo
| ja = モンゾ
}}
Otra notación de los Radios es el Monzo, llamado así por el teórico Joe Monzo: es un vector de los exponentes de factores primos, permitiendo la notación |a b c d e f … &amp;gt;, en la que se entienden los primos (1)2, 3, 5, 7, 11, 13, etc., en éste que es su orden natural, para contribuir a la factorización primal de cada Parcial hasta cierto Límite primo.

Por ejemplo el intervalo 15:8 puede ser pensado como teniendo 5*3 en el numerador y 2*2*2 en el denominador, lo que puede expresarse de manera más compacta anotando (2^-3)*(3^1)*(5^1) = 8:(3*5) = 15:8, construimos el Monzo tomando el exponente de cada primo, en orden, dentro | … &gt;, teniendo |-3 1 1&gt;. Un Monzo como |-4 4 -1&gt; denota (2^-4)*(3^4)*(5^-1) = (16*5):81 = 81:80, el Coma Sintónico.

Como ejemplos 3:2 es |-1 1&gt;, 5:4 es |-2 0 1&gt;, 9:8 es |-3 2&gt;, 7:4 es |-2 0 0 1&gt;, 7:6 es |-1 -1 0 1&gt;, 7:5 es |0 0 -1 1&gt;, etc.</text>
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        <username>Fredg999</username>
        <id>12</id>
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      <comment>Plantilla:Monzo</comment>
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| de = Monzo-Notation
| en = Monzos
| es = Monzo
| ja = モンゾ
}}
Otra notación de los [[Radio]]s es el Monzo, llamado así por el teórico Joe Monzo: es un vector de los exponentes de factores primos, permitiendo la notación {{monzo|a b c d e f …}}, en la que se entienden los primos 2, 3, 5, 7, 11, 13, etc., en éste que es su orden natural, para contribuir a la factorización primal de cada Parcial hasta cierto Límite primo.

Por ejemplo el intervalo 15:8 puede ser pensado como teniendo 5*3 en el numerador y 2*2*2 en el denominador, lo que puede expresarse de manera más compacta anotando (2^-3)*(3^1)*(5^1) = 8:(3*5) = 15:8, construimos el Monzo tomando el exponente de cada primo, en orden, dentro {{monzo| … }}, teniendo {{monzo|-3 1 1}}. Un Monzo como {{monzo|-4 4 -1}} denota (2^-4)*(3^4)*(5^-1) = (16*5):81 = 81:80, el Coma Sintónico.

Como ejemplos 3:2 es {{monzo|-1 1}}, 5:4 es {{monzo|-2 0 1}}, 9:8 es {{monzo|-3 2}}, 7:4 es {{monzo|-2 0 0 1}}, 7:6 es {{monzo|-1 -1 0 1}}, 7:5 es {{monzo|0 0 -1 1}}, etc.</text>
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  </page>
  <page>
    <title>Orientación General</title>
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      <timestamp>2018-09-17T00:09:21Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
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      <minor/>
      <comment>Text replacement - "(\[\[\:(dev|es|purdal|de|en):[^[:space:]\|]*) (.*])" to "$1|$3"</comment>
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      <text bytes="17112" sha1="6xuytdzw4pa2sad0y0aakt284h1aq0z" xml:space="preserve">= =

El Sonido Definido tiene la cualidad de mostrar una onda siempre parecida, tanto en la fundamental como en los Parciales, que están ordenados en una Serie Armónica definida, en este caso los Parciales reciben el nombre de Armónicos; los Instrumentos de Sonido Definido (guitarra, flauta, trompeta,etc.) producen estas resonancias y son una mayoría. El Ruido, en cambio, es un estímulo con una onda cada vez diferente por sus Parciales difíciles de definir o predecir; Instrumentos de Sonido Indefinido, como los de percusión o un portazo, el viento, estática en la televisión, etc., producen estos sonidos; por poseer una Serie de Parciales saturada y/o poquísimo clara, su altura exacta no la podemos discernir.

A lo largo de la historia este concepto ha fundamentado el estudio de las relaciones verticales y horizontales presentes en la música. ([https://es.wikipedia.org/wiki/Ac%C3%BAstica_musical Acústica Musical]) desde la antigüedad el hombre ha desarrollado sistemas musicales. La mayoría de las culturas ancestrales llegó a la pentafonía, quiere decir 5 tonos para hacer música no necesariamente dentro la octava (ni parecida a la música inca o china populares de la actualidad);

Todo Sonido tiene una Fundamental, que es un Tono Puro y un recubrimiento de Parciales; son ondas proporcionales de la nota fundamental en porciones más o menos armónicas que otras. Todos los Parciales pueden vibrar de cualquier manera, pero nuestra necesidad de medición aprecia su representación por medio de fracciones proporcionales, expresadas por Radios. Ahora, cabe decir que dentro de cualquier sonido se encuentra la posibilidad de todos los sonidos, ya que la onda varía siempre, por naturaleza, incluso un Tono Puro, al chocar con objetos o entrar al conducto auditivo externo e interno, ya sufre de cambios que le dan débiles parciales de manera prácticamente aleatoria, obviamente esto no se siente de una manera clara. Gracias a la tecnología actual podemos pensar que todo sonido puede ser tratado (sintetizado) para adquirir el timbre de cualquier otro.

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;El &lt;/span&gt;[https://es.wikipedia.org/wiki/Temperamento_justo Temperamento Justo] o [[Entonación_Justa|Entonación Justa]]&lt;span style="background-color: #ffffff;"&gt;: un mundo infinito de números racionales y numerosos modelos: la serie armónica, Radios basados en números primos, Diamantes de Tonalidad, Eikosanía, etc.&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

anotemos primero que no existe DO o LA como tales, a La le damos el valor de 440hz normalmente, pero La puede ser = 425Hz, 432Hz, 450.6Hz, etc. Naturalmente se da la equivalencia dentro un circulo sonoro, cuando el sistema musical puede reconocer una octava exacta, esto quiere decir que el músico ya acepta 440hz como La y su octava como 880hz. Partiendo de esta noción podemos experimentar con una guitarra, donde notaremos que la mitad de la cuerda (12avo traste) cumple con la octava y teniendo en cuenta que La1=440hz y La2=880hz podemos calcular que la octava hacia abajo es un medio de la tónica (1/2) y hacia arriba una multiplicación por 2, ahora el siguiente avance es reconocer la quinta justa que es 3/2 de la cuerda, cuando tocas un armónico de la guitarra sobre el quinto grado justamente se cumple esta fracción, una octava más arriba de la octava original, como sabemos su inversión nos deja conocer el cuarto grado, luego la tercera mayor. Nótese que si calculamos las fracciones justas más simples de 440hz nos dan número enteros, ej Mi=660hz y esto define nuestras notas consideradas como consonancias o disonancias (mientras más simple sea la fracción, más consonante será al oído, por los parciales armónicos). ([http://es.wikipedia.org/wiki/Afinaci%C3%B3n_pitag%C3%B3rica Afinación Pitagórica]) Pitágoras veía en el mundo la divinidad de las matemáticas, por ende calcular estas fracciones era muy importante para él, la escala pitagórica esta formada por una sucesión de quintas justas que dan 12 notas más o menos cercanas a las vibraciones resultantes de los armónicos; en base a los criterios atribuidos a este personaje se desarrolló la mayoría de la teoría musical de occidente y de algunos sistemas de medio oriente; los Radios resultantes fueron variando bajo ciertos criterios y culturas, para no extendernos mucho decimos que los armónicos son Do=1 Re=9/8 Mi=5/4 Fa=4/3 Sol=3/2 La=5/3 Si=15/8 Do(octava)=2 (Do puidiendo ser cualquier vibración Fundamental), esto es la afinación justa y es hecha en base a los parciales armónicos exactos.

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://es.wikipedia.org/wiki/Temperamento_mesot%C3%B3nico Temperamento Mesotónico]&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://en.wikipedia.org/wiki/Well_temperament Buenos Temperamentos] &lt;/span&gt;(&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

La música suena muy bien monofónicamente o con armonías simples, pero ahora tenemos un problema: en un sistema de afinación justa podemos tocar en Do mayor y sonará de maravilla, pero si tocamos en Solb(por ejemplo), los tonos no están acomodados a la serie armónica, entonces será necesario afinar estas fracciones para Solb; es por este detalle que se tempera un instrumento, osea se mueve un poco la vibración resultante de las fracciones para que las tonalidades tengan más acercamiento a parciales en común, esto debe entenderse como una renuncia obligatoria a los parciales exactos, pero los cambios suelen ser tan sutiles que apenas se notan, y se notan más o menos en diferentes tonalidades. El proceso de estudio es largo y escabroso, pues los sonidos se pierden en el aire y es difícil poder entender cómo afinaban exactamente los griegos o romanos, en fin, para la cultura occidental se considera un punto de inflexión la época de Bach, por haber podido sintetizar un temperamento y una música que se acomodaba para cada una de las tonalidades del teclado (con el Clave Bien Temperado, efectivamente), eso sí hay que recordar que la afinación de Bach no se sabe hoy con exactitud, él no dejó prosa al respecto y lo más parecido que conocemos es la afinación Werckmeister III, y justamente sabemos esto porque la obra de Bach es una especie de apoteosis de los avances en el contrapunto, la construcción de claves, el nacer del piano, y las matemáticas simples que facilitaron las maneras de temperar. Tengamos en cuenta también que a Bach no lo interpretamos hoy con esta afinación.

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[Equal_Temperaments|Temperamentos Equitativos]] (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;): cada uno de ellos con una única colección de intervalos totalmente transportables y modulables. Pueden ser tratados como Temperamentos o no.&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

Así pudimos acercarnos a las divisiones equitativas de la octava, que es lo que utilizamos hoy en día como temperamento generalizado (12EDO) ([http://es.wikipedia.org/wiki/Temperamento_igual Temperamento Equitativo]), que funciona dividiendo la octava en una progresión logarítmica donde cada semitono es igual a otro en distancia musical, es por eso que las guitarras, bajos, mandolinas, charangos, bandurrias, ukeleles, etc., tienen los trastes de esa manera y se pueden tocar en todas las tonalidades. [https://es.wikipedia.org/wiki/Juli%C3%A1n_Carrillo Julián Carrillo], [https://es.wikipedia.org/wiki/Alois_H%C3%A1ba Alois Habá], [https://en.wikipedia.org/wiki/Nikolai_Obukhov Nicolás Obujov], [https://en.wikipedia.org/wiki/Ivan_Wyschnegradsky Iván Wyschnegradsky], etc., resaltan por sus esfuerzos para irrumpir en la microtonalidad por medio de la división del tono, sea cuartos de tono (24EDO), sextos de tono (36EDO), octavos de tono (48EDO) y dieciseisavos de tono (96EDO).

&lt;span style="background-color: #ffffff;"&gt;En la práctica común global e histórica, el olvidado uso de [[historical_temperaments|temperamentos históricos]] (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;):&lt;/span&gt;

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_folcl%C3%B3rica_de_Turqu%C3%ADa Música Turka]; desarrollo del [https://en.wikipedia.org/wiki/Makam Makam] &lt;/span&gt;(&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_%C3%A1rabe Música Árabe]&lt;/span&gt;&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_tradicional_persa Música Persa]&lt;/li&gt;&lt;li&gt;Acercamiento Xenarmónico a la Música [[Arabic,_Turkish,_Persian|Árabe, turco, persa]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_cl%C3%A1sica_de_India Música de la India]&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_africana Música Africana]; [https://es.wikipedia.org/wiki/M%C3%BAsica_de_Nigeria Música de Nigeria]&lt;/li&gt;&lt;li&gt;Música Tailandesa; [https://es.wikipedia.org/wiki/Pong_lang Pong Lang]; [https://es.wikipedia.org/wiki/Luk_thung Luk Thung];&lt;/li&gt;&lt;li&gt;[[Pre-Columbian_South_American_Music|Precolombina de América del Sur]] (por ejemplo, Maya, Inca, Azteca ..) (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/Gamel%C3%A1n Música Gamelán]; [https://es.wikipedia.org/wiki/Cultura_de_Indonesia Cultura Indonesia];&lt;/li&gt;&lt;li&gt;Griego antiguo, [http://orthodoxwiki.org/Byzantine_Chant#The_scale bizantino] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;); [https://orthodoxwiki.org/Byzantine_Notation notación Bizantina] &lt;/span&gt;(&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

======Hoy, según muchos consideran, toca buscar una polifonía más profunda con instrumentos en diferentes temperamentos y afinaciones, sobretodo dividir la octava (y otros intervalos) en números diferentes del 12 ([http://en.wikipedia.org/wiki/Xenharmonic_music Música Xenarmónica]). La Música Xenarmónica es aquella en la que se utilizan sistemas de afinación diferentes del sistema temperado actual (12EDO). El compositor &lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px;"&gt;[https://en.wikipedia.org/wiki/Ivor_Darreg Ivor Darreg]&lt;/span&gt; visibilizó el término, de &lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Xenia_(Greek) xenia]&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt; (&lt;/span&gt;&lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Greek_language Griego]&lt;/span&gt; '''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;ξενία&lt;/span&gt;'''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;), "hospitalario", y &lt;/span&gt;&lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Xenos_(Greek) xenos]&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt; (&lt;/span&gt;&lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Greek_language Griego]&lt;/span&gt; '''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;ξένος&lt;/span&gt;'''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;) "extranjero".&lt;/span&gt;======
&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[Regular_Temperaments|Temperamentos regulares]] (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;): (incluyendo Temperamentos Lineales): una práctica de siglos de antigüedad que ha experimentado un levantón matemático, en la que la Entonación Justa es selectiva y periódicamente desafinada de diversas maneras, para satisfacer mejor una variedad de los deseos de composición, como la modulación armónica o construcción de ciertas propiedades en las escalas.&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[MOSScales|Momento de Simetría]](MOS) (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;): un medio de iteración de un solo intervalo que resulta generativa, con un módulo un intervalo periódico, para producir escamas de dos paso a los tamaños. Creación de Erv Wilson.&lt;/span&gt;&lt;ul&gt;&lt;li&gt;[[Graham_complexity|Complejidad Graham]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;): una medida de complejidad que funciona bien con escalas MOS y de rangos dos temperamentos regulares.&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;/ul&gt;

=&lt;span style="background-color: #ffffff;"&gt;Otros caminos hacia la Xenarmonía&lt;/span&gt;=
&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[Empirical|Empírica]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;): Esta es la forma práctica. La investigación de campo en lugar de ingeniería acústica o construcción de escalas en la que afinaciones se derivan específicamente de escuchar y jugar experimentalmente, llevados a cabo en el continuo sonoro.&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[tetrachord|Escalas Tetracordales]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;); [https://es.wikipedia.org/wiki/Tetracordio Tetracordio]: que utilizan intervalos de cuarta divididas como bloques de construcción para la composición.&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[isoharmonic_chords|Acordes/Escalas Isoarmonicas]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;&lt;span style="background-color: #ffffff;"&gt;[[Notation|Notación]]&lt;/span&gt; y [[Pretty_Pictures|Pretty Pictures]] que representan las escalas de una manera u otra y su notación&lt;/span&gt;&lt;ul&gt;&lt;li&gt;[[Nominal-Accidental_Chains|Cadenas nominal-accidental]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;) de un enfoque común a la notación.&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;/ul&gt;

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;la noción de un [[Scalesmith|Scalesmith]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;) que ''construye'' escalas, con varios métodos, tal vez para ocasiones únicas&lt;/span&gt;&lt;ul&gt;&lt;li&gt;escalas arbitrarias al azar, contra-intuitivas&lt;/li&gt;&lt;li&gt;escalas exigentes computacionalmente basadas ​​en la numerología&lt;/li&gt;&lt;li&gt;escala de estiramiento&lt;/li&gt;&lt;li&gt;basadas ​​acústicamente (frecuencias resonantes del espacio arquitectural donde se realice la interpretación, por ejemplo)&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;/ul&gt;

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[redundancy|La Redundancia]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;) en un sistema de afinación.&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

=&lt;span style="background-color: #ffffff;"&gt;enlaces externos (en inglés)&lt;/span&gt;=
&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;Tonalsoft [http://www.tonalsoft.com/enc/encyclopedia.aspx Enciclopedia de la teoría de la música microtonal] - todo un mar de información sobre el tema, que abarca tanto las teorías de sintonía históricos y desarrollos modernos, de Joe Monzo&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[http://microtonalismo.com/ Microtonalismo] - Web microtonal de Charles Loli&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[http://www.bikexprt.com/music/tunebibl.htm Una bibliografía sobre afinación y temperamento] , compilado por John S. Allen&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;&lt;span style="background-color: #ffffff;"&gt;[http://www.huygens-fokker.org/docs/bibliography.html Afinación y Temperamento Bibliografíco] de la Fundación &lt;/span&gt;[[Huygens-Fokker|Huygens-Fokker]]. Actualizada por Manuel op de Coul&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[http://www.untwelve.org/ UnTwelve] sitio que tiene algunas páginas de interés teórico, incluyendo un [http://www.untwelve.org/what.html fascinante artículo] escrito por Margo Schulter&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;Hermana Alemana de este wiki [[:de:willkommen|"Xenharmonie"]]&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;</text>
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        <username>Mike Battaglia</username>
        <id>3</id>
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El Sonido Definido tiene la cualidad de mostrar una onda siempre parecida, tanto en la fundamental como en los Parciales, que están ordenados en una Serie Armónica definida, en este caso los Parciales reciben el nombre de Armónicos; los Instrumentos de Sonido Definido (guitarra, flauta, trompeta,etc.) producen estas resonancias y son una mayoría. El Ruido, en cambio, es un estímulo con una onda cada vez diferente por sus Parciales difíciles de definir o predecir; Instrumentos de Sonido Indefinido, como los de percusión o un portazo, el viento, estática en la televisión, etc., producen estos sonidos; por poseer una Serie de Parciales saturada y/o poquísimo clara, su altura exacta no la podemos discernir.

A lo largo de la historia este concepto ha fundamentado el estudio de las relaciones verticales y horizontales presentes en la música. ([https://es.wikipedia.org/wiki/Ac%C3%BAstica_musical Acústica Musical]) desde la antigüedad el hombre ha desarrollado sistemas musicales. La mayoría de las culturas ancestrales llegó a la pentafonía, quiere decir 5 tonos para hacer música no necesariamente dentro la octava (ni parecida a la música inca o china populares de la actualidad);

Todo Sonido tiene una Fundamental, que es un Tono Puro y un recubrimiento de Parciales; son ondas proporcionales de la nota fundamental en porciones más o menos armónicas que otras. Todos los Parciales pueden vibrar de cualquier manera, pero nuestra necesidad de medición aprecia su representación por medio de fracciones proporcionales, expresadas por Radios. Ahora, cabe decir que dentro de cualquier sonido se encuentra la posibilidad de todos los sonidos, ya que la onda varía siempre, por naturaleza, incluso un Tono Puro, al chocar con objetos o entrar al conducto auditivo externo e interno, ya sufre de cambios que le dan débiles parciales de manera prácticamente aleatoria, obviamente esto no se siente de una manera clara. Gracias a la tecnología actual podemos pensar que todo sonido puede ser tratado (sintetizado) para adquirir el timbre de cualquier otro.

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;El &lt;/span&gt;[https://es.wikipedia.org/wiki/Temperamento_justo Temperamento Justo] o [[Entonación_Justa|Entonación Justa]]&lt;span style="background-color: #ffffff;"&gt;: un mundo infinito de números racionales y numerosos modelos: la serie armónica, Radios basados en números primos, Diamantes de Tonalidad, Eikosanía, etc.&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

anotemos primero que no existe DO o LA como tales, a La le damos el valor de 440hz normalmente, pero La puede ser = 425Hz, 432Hz, 450.6Hz, etc. Naturalmente se da la equivalencia dentro un circulo sonoro, cuando el sistema musical puede reconocer una octava exacta, esto quiere decir que el músico ya acepta 440hz como La y su octava como 880hz. Partiendo de esta noción podemos experimentar con una guitarra, donde notaremos que la mitad de la cuerda (12avo traste) cumple con la octava y teniendo en cuenta que La1=440hz y La2=880hz podemos calcular que la octava hacia abajo es un medio de la tónica (1/2) y hacia arriba una multiplicación por 2, ahora el siguiente avance es reconocer la quinta justa que es 3/2 de la cuerda, cuando tocas un armónico de la guitarra sobre el quinto grado justamente se cumple esta fracción, una octava más arriba de la octava original, como sabemos su inversión nos deja conocer el cuarto grado, luego la tercera mayor. Nótese que si calculamos las fracciones justas más simples de 440hz nos dan número enteros, ej Mi=660hz y esto define nuestras notas consideradas como consonancias o disonancias (mientras más simple sea la fracción, más consonante será al oído, por los parciales armónicos). ([http://es.wikipedia.org/wiki/Afinaci%C3%B3n_pitag%C3%B3rica Afinación Pitagórica]) Pitágoras veía en el mundo la divinidad de las matemáticas, por ende calcular estas fracciones era muy importante para él, la escala pitagórica esta formada por una sucesión de quintas justas que dan 12 notas más o menos cercanas a las vibraciones resultantes de los armónicos; en base a los criterios atribuidos a este personaje se desarrolló la mayoría de la teoría musical de occidente y de algunos sistemas de medio oriente; los Radios resultantes fueron variando bajo ciertos criterios y culturas, para no extendernos mucho decimos que los armónicos son Do=1 Re=9/8 Mi=5/4 Fa=4/3 Sol=3/2 La=5/3 Si=15/8 Do(octava)=2 (Do puidiendo ser cualquier vibración Fundamental), esto es la afinación justa y es hecha en base a los parciales armónicos exactos.

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://es.wikipedia.org/wiki/Temperamento_mesot%C3%B3nico Temperamento Mesotónico]&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://en.wikipedia.org/wiki/Well_temperament Buenos Temperamentos] &lt;/span&gt;(&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

La música suena muy bien monofónicamente o con armonías simples, pero ahora tenemos un problema: en un sistema de afinación justa podemos tocar en Do mayor y sonará de maravilla, pero si tocamos en Solb(por ejemplo), los tonos no están acomodados a la serie armónica, entonces será necesario afinar estas fracciones para Solb; es por este detalle que se tempera un instrumento, osea se mueve un poco la vibración resultante de las fracciones para que las tonalidades tengan más acercamiento a parciales en común, esto debe entenderse como una renuncia obligatoria a los parciales exactos, pero los cambios suelen ser tan sutiles que apenas se notan, y se notan más o menos en diferentes tonalidades. El proceso de estudio es largo y escabroso, pues los sonidos se pierden en el aire y es difícil poder entender cómo afinaban exactamente los griegos o romanos, en fin, para la cultura occidental se considera un punto de inflexión la época de Bach, por haber podido sintetizar un temperamento y una música que se acomodaba para cada una de las tonalidades del teclado (con el Clave Bien Temperado, efectivamente), eso sí hay que recordar que la afinación de Bach no se sabe hoy con exactitud, él no dejó prosa al respecto y lo más parecido que conocemos es la afinación Werckmeister III, y justamente sabemos esto porque la obra de Bach es una especie de apoteosis de los avances en el contrapunto, la construcción de claves, el nacer del piano, y las matemáticas simples que facilitaron las maneras de temperar. Tengamos en cuenta también que a Bach no lo interpretamos hoy con esta afinación.

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[Equal_Temperaments|Temperamentos Equitativos]] (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;): cada uno de ellos con una única colección de intervalos totalmente transportables y modulables. Pueden ser tratados como Temperamentos o no.&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

Así pudimos acercarnos a las divisiones equitativas de la octava, que es lo que utilizamos hoy en día como temperamento generalizado (12EDO) ([http://es.wikipedia.org/wiki/Temperamento_igual Temperamento Equitativo]), que funciona dividiendo la octava en una progresión logarítmica donde cada semitono es igual a otro en distancia musical, es por eso que las guitarras, bajos, mandolinas, charangos, bandurrias, ukeleles, etc., tienen los trastes de esa manera y se pueden tocar en todas las tonalidades. [https://es.wikipedia.org/wiki/Juli%C3%A1n_Carrillo Julián Carrillo], [https://es.wikipedia.org/wiki/Alois_H%C3%A1ba Alois Habá], [https://en.wikipedia.org/wiki/Nikolai_Obukhov Nicolás Obujov], [https://en.wikipedia.org/wiki/Ivan_Wyschnegradsky Iván Wyschnegradsky], etc., resaltan por sus esfuerzos para irrumpir en la microtonalidad por medio de la división del tono, sea cuartos de tono (24EDO), sextos de tono (36EDO), octavos de tono (48EDO) y dieciseisavos de tono (96EDO).

&lt;span style="background-color: #ffffff;"&gt;En la práctica común global e histórica, el olvidado uso de [[historical_temperaments|temperamentos históricos]] (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;):&lt;/span&gt;

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_folcl%C3%B3rica_de_Turqu%C3%ADa Música Turka]; desarrollo del [https://en.wikipedia.org/wiki/Makam Makam] &lt;/span&gt;(&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_%C3%A1rabe Música Árabe]&lt;/span&gt;&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_tradicional_persa Música Persa]&lt;/li&gt;&lt;li&gt;Acercamiento Xenarmónico a la Música [[Arabic,_Turkish,_Persian|Árabe, turco, persa]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_cl%C3%A1sica_de_India Música de la India]&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_africana Música Africana]; [https://es.wikipedia.org/wiki/M%C3%BAsica_de_Nigeria Música de Nigeria]&lt;/li&gt;&lt;li&gt;Música Tailandesa; [https://es.wikipedia.org/wiki/Pong_lang Pong Lang]; [https://es.wikipedia.org/wiki/Luk_thung Luk Thung];&lt;/li&gt;&lt;li&gt;[[Pre-Columbian_South_American_Music|Precolombina de América del Sur]] (por ejemplo, Maya, Inca, Azteca ..) (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/Gamel%C3%A1n Música Gamelán]; [https://es.wikipedia.org/wiki/Cultura_de_Indonesia Cultura Indonesia];&lt;/li&gt;&lt;li&gt;Griego antiguo, [http://orthodoxwiki.org/Byzantine_Chant#The_scale bizantino] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;); [https://orthodoxwiki.org/Byzantine_Notation notación Bizantina] &lt;/span&gt;(&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

======Hoy, según muchos consideran, toca buscar una polifonía más profunda con instrumentos en diferentes temperamentos y afinaciones, sobretodo dividir la octava (y otros intervalos) en números diferentes del 12 ([http://en.wikipedia.org/wiki/Xenharmonic_music Música Xenarmónica]). La Música Xenarmónica es aquella en la que se utilizan sistemas de afinación diferentes del sistema temperado actual (12EDO). El compositor &lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px;"&gt;[https://en.wikipedia.org/wiki/Ivor_Darreg Ivor Darreg]&lt;/span&gt; visibilizó el término, de &lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Xenia_(Greek) xenia]&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt; (&lt;/span&gt;&lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Greek_language Griego]&lt;/span&gt; '''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;ξενία&lt;/span&gt;'''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;), "hospitalario", y &lt;/span&gt;&lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Xenos_(Greek) xenos]&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt; (&lt;/span&gt;&lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Greek_language Griego]&lt;/span&gt; '''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;ξένος&lt;/span&gt;'''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;) "extranjero".&lt;/span&gt;======
&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[Regular_Temperaments|Temperamentos regulares]] (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;): (incluyendo Temperamentos Lineales): una práctica de siglos de antigüedad que ha experimentado un levantón matemático, en la que la Entonación Justa es selectiva y periódicamente desafinada de diversas maneras, para satisfacer mejor una variedad de los deseos de composición, como la modulación armónica o construcción de ciertas propiedades en las escalas.&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[MOSScales|Momento de Simetría]](MOS) (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;): un medio de iteración de un solo intervalo que resulta generativa, con un módulo un intervalo periódico, para producir escamas de dos paso a los tamaños. Creación de Erv Wilson.&lt;/span&gt;&lt;ul&gt;&lt;li&gt;[[Graham_complexity|Complejidad Graham]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;): una medida de complejidad que funciona bien con escalas MOS y de rangos dos temperamentos regulares.&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;/ul&gt;

=&lt;span style="background-color: #ffffff;"&gt;Otros caminos hacia la Xenarmonía&lt;/span&gt;=
&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[Empirical|Empírica]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;): Esta es la forma práctica. La investigación de campo en lugar de ingeniería acústica o construcción de escalas en la que afinaciones se derivan específicamente de escuchar y jugar experimentalmente, llevados a cabo en el continuo sonoro.&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[tetrachord|Escalas Tetracordales]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;); [https://es.wikipedia.org/wiki/Tetracordio Tetracordio]: que utilizan intervalos de cuarta divididas como bloques de construcción para la composición.&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[isoharmonic_chords|Acordes/Escalas Isoarmonicas]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;&lt;span style="background-color: #ffffff;"&gt;[[Notation|Notación]]&lt;/span&gt; y [[Pretty_Pictures|Pretty Pictures]] que representan las escalas de una manera u otra y su notación&lt;/span&gt;&lt;ul&gt;&lt;li&gt;[[Nominal-Accidental_Chains|Cadenas nominal-accidental]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;) de un enfoque común a la notación.&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;/ul&gt;

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;la noción de un [[Scalesmith|Scalesmith]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;) que ''construye'' escalas, con varios métodos, tal vez para ocasiones únicas&lt;/span&gt;&lt;ul&gt;&lt;li&gt;escalas arbitrarias al azar, contra-intuitivas&lt;/li&gt;&lt;li&gt;escalas exigentes computacionalmente basadas ​​en la numerología&lt;/li&gt;&lt;li&gt;escala de estiramiento&lt;/li&gt;&lt;li&gt;basadas ​​acústicamente (frecuencias resonantes del espacio arquitectural donde se realice la interpretación, por ejemplo)&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;/ul&gt;

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[redundancy|La Redundancia]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;) en un sistema de afinación.&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

=&lt;span style="background-color: #ffffff;"&gt;enlaces externos (en inglés)&lt;/span&gt;=
&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;Tonalsoft [http://www.tonalsoft.com/enc/encyclopedia.aspx Enciclopedia de la teoría de la música microtonal] - todo un mar de información sobre el tema, que abarca tanto las teorías de sintonía históricos y desarrollos modernos, de Joe Monzo&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[http://microtonalismo.com/ Microtonalismo] - Web microtonal de Charles Loli&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[http://www.bikexprt.com/music/tunebibl.htm Una bibliografía sobre afinación y temperamento] , compilado por John S. Allen&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;&lt;span style="background-color: #ffffff;"&gt;[http://www.huygens-fokker.org/docs/bibliography.html Afinación y Temperamento Bibliografíco] de la Fundación &lt;/span&gt;[[Huygens-Fokker|Huygens-Fokker]]. Actualizada por Manuel op de Coul&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[http://www.untwelve.org/ UnTwelve] sitio que tiene algunas páginas de interés teórico, incluyendo un [http://www.untwelve.org/what.html fascinante artículo] escrito por Margo Schulter&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;Hermana Alemana de este wiki [[:de:willkommen|"Xenharmonie"]]&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;</text>
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El Sonido Definido tiene la cualidad de mostrar una onda siempre parecida, tanto en la fundamental como en los Parciales, que están ordenados en una Serie Armónica definida, en este caso los Parciales reciben el nombre de Armónicos; los Instrumentos de Sonido Definido (guitarra, flauta, trompeta,etc.) producen estas resonancias y son una mayoría. El Ruido, en cambio, es un estímulo con una onda cada vez diferente por sus Parciales difíciles de definir o predecir; Instrumentos de Sonido Indefinido, como los de percusión o un portazo, el viento, estática en la televisión, etc., producen estos sonidos; por poseer una Serie de Parciales saturada y/o poquísimo clara, su altura exacta no la podemos discernir.

A lo largo de la historia este concepto ha fundamentado el estudio de las relaciones verticales y horizontales presentes en la música. ([https://es.wikipedia.org/wiki/Ac%C3%BAstica_musical Acústica Musical]) desde la antigüedad el hombre ha desarrollado sistemas musicales. La mayoría de las culturas ancestrales llegó a la pentafonía, quiere decir 5 tonos para hacer música no necesariamente dentro la octava (ni parecida a la música inca o china populares de la actualidad);

Todo Sonido tiene una Fundamental, que es un Tono Puro y un recubrimiento de Parciales; son ondas proporcionales de la nota fundamental en porciones más o menos armónicas que otras. Todos los Parciales pueden vibrar de cualquier manera, pero nuestra necesidad de medición aprecia su representación por medio de fracciones proporcionales, expresadas por Radios. Ahora, cabe decir que dentro de cualquier sonido se encuentra la posibilidad de todos los sonidos, ya que la onda varía siempre, por naturaleza, incluso un Tono Puro, al chocar con objetos o entrar al conducto auditivo externo e interno, ya sufre de cambios que le dan débiles parciales de manera prácticamente aleatoria, obviamente esto no se siente de una manera clara. Gracias a la tecnología actual podemos pensar que todo sonido puede ser tratado (sintetizado) para adquirir el timbre de cualquier otro.

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;El &lt;/span&gt;[https://es.wikipedia.org/wiki/Temperamento_justo Temperamento Justo] o [[Entonación_Justa|Entonación Justa]]&lt;span style="background-color: #ffffff;"&gt;: un mundo infinito de números racionales y numerosos modelos: la serie armónica, Radios basados en números primos, Diamantes de Tonalidad, Eikosanía, etc.&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

anotemos primero que no existe DO o LA como tales, a La le damos el valor de 440hz normalmente, pero La puede ser = 425Hz, 432Hz, 450.6Hz, etc. Naturalmente se da la equivalencia dentro un circulo sonoro, cuando el sistema musical puede reconocer una octava exacta, esto quiere decir que el músico ya acepta 440hz como La y su octava como 880hz. Partiendo de esta noción podemos experimentar con una guitarra, donde notaremos que la mitad de la cuerda (12avo traste) cumple con la octava y teniendo en cuenta que La1=440hz y La2=880hz podemos calcular que la octava hacia abajo es un medio de la tónica (1/2) y hacia arriba una multiplicación por 2, ahora el siguiente avance es reconocer la quinta justa que es 3/2 de la cuerda, cuando tocas un armónico de la guitarra sobre el quinto grado justamente se cumple esta fracción, una octava más arriba de la octava original, como sabemos su inversión nos deja conocer el cuarto grado, luego la tercera mayor. Nótese que si calculamos las fracciones justas más simples de 440hz nos dan número enteros, ej Mi=660hz y esto define nuestras notas consideradas como consonancias o disonancias (mientras más simple sea la fracción, más consonante será al oído, por los parciales armónicos). ([http://es.wikipedia.org/wiki/Afinaci%C3%B3n_pitag%C3%B3rica Afinación Pitagórica]) Pitágoras veía en el mundo la divinidad de las matemáticas, por ende calcular estas fracciones era muy importante para él, la escala pitagórica esta formada por una sucesión de quintas justas que dan 12 notas más o menos cercanas a las vibraciones resultantes de los armónicos; en base a los criterios atribuidos a este personaje se desarrolló la mayoría de la teoría musical de occidente y de algunos sistemas de medio oriente; los Radios resultantes fueron variando bajo ciertos criterios y culturas, para no extendernos mucho decimos que los armónicos son Do=1 Re=9/8 Mi=5/4 Fa=4/3 Sol=3/2 La=5/3 Si=15/8 Do(octava)=2 (Do puidiendo ser cualquier vibración Fundamental), esto es la afinación justa y es hecha en base a los parciales armónicos exactos.

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://es.wikipedia.org/wiki/Temperamento_mesot%C3%B3nico Temperamento Mesotónico]&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://en.wikipedia.org/wiki/Well_temperament Buenos Temperamentos] &lt;/span&gt;(&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

La música suena muy bien monofónicamente o con armonías simples, pero ahora tenemos un problema: en un sistema de afinación justa podemos tocar en Do mayor y sonará de maravilla, pero si tocamos en Solb(por ejemplo), los tonos no están acomodados a la serie armónica, entonces será necesario afinar estas fracciones para Solb; es por este detalle que se tempera un instrumento, osea se mueve un poco la vibración resultante de las fracciones para que las tonalidades tengan más acercamiento a parciales en común, esto debe entenderse como una renuncia obligatoria a los parciales exactos, pero los cambios suelen ser tan sutiles que apenas se notan, y se notan más o menos en diferentes tonalidades. El proceso de estudio es largo y escabroso, pues los sonidos se pierden en el aire y es difícil poder entender cómo afinaban exactamente los griegos o romanos, en fin, para la cultura occidental se considera un punto de inflexión la época de Bach, por haber podido sintetizar un temperamento y una música que se acomodaba para cada una de las tonalidades del teclado (con el Clave Bien Temperado, efectivamente), eso sí hay que recordar que la afinación de Bach no se sabe hoy con exactitud, él no dejó prosa al respecto y lo más parecido que conocemos es la afinación Werckmeister III, y justamente sabemos esto porque la obra de Bach es una especie de apoteosis de los avances en el contrapunto, la construcción de claves, el nacer del piano, y las matemáticas simples que facilitaron las maneras de temperar. Tengamos en cuenta también que a Bach no lo interpretamos hoy con esta afinación.

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[Equal_Temperaments|Temperamentos Equitativos]] (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;): cada uno de ellos con una única colección de intervalos totalmente transportables y modulables. Pueden ser tratados como Temperamentos o no.&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

Así pudimos acercarnos a las divisiones equitativas de la octava, que es lo que utilizamos hoy en día como temperamento generalizado (12EDO) ([http://es.wikipedia.org/wiki/Temperamento_igual Temperamento Equitativo]), que funciona dividiendo la octava en una progresión logarítmica donde cada semitono es igual a otro en distancia musical, es por eso que las guitarras, bajos, mandolinas, charangos, bandurrias, ukeleles, etc., tienen los trastes de esa manera y se pueden tocar en todas las tonalidades. [https://es.wikipedia.org/wiki/Juli%C3%A1n_Carrillo Julián Carrillo], [https://es.wikipedia.org/wiki/Alois_H%C3%A1ba Alois Habá], [https://en.wikipedia.org/wiki/Nikolai_Obukhov Nicolás Obujov], [https://en.wikipedia.org/wiki/Ivan_Wyschnegradsky Iván Wyschnegradsky], etc., resaltan por sus esfuerzos para irrumpir en la microtonalidad por medio de la división del tono, sea cuartos de tono (24EDO), sextos de tono (36EDO), octavos de tono (48EDO) y dieciseisavos de tono (96EDO).

&lt;span style="background-color: #ffffff;"&gt;En la práctica común global e histórica, el olvidado uso de [[historical_temperaments|temperamentos históricos]] (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;):&lt;/span&gt;

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_folcl%C3%B3rica_de_Turqu%C3%ADa Música Turka]; desarrollo del [https://en.wikipedia.org/wiki/Makam Makam] &lt;/span&gt;(&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_%C3%A1rabe Música Árabe]&lt;/span&gt;&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_tradicional_persa Música Persa]&lt;/li&gt;&lt;li&gt;Acercamiento Xenarmónico a la Música [[Arabic,_Turkish,_Persian|Árabe, turco, persa]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_cl%C3%A1sica_de_India Música de la India]&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_africana Música Africana]; [https://es.wikipedia.org/wiki/M%C3%BAsica_de_Nigeria Música de Nigeria]&lt;/li&gt;&lt;li&gt;Música Tailandesa; [https://es.wikipedia.org/wiki/Pong_lang Pong Lang]; [https://es.wikipedia.org/wiki/Luk_thung Luk Thung];&lt;/li&gt;&lt;li&gt;[[Pre-Columbian_South_American_Music|Precolombina de América del Sur]] (por ejemplo, Maya, Inca, Azteca ..) (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/Gamel%C3%A1n Música Gamelán]; [https://es.wikipedia.org/wiki/Cultura_de_Indonesia Cultura Indonesia];&lt;/li&gt;&lt;li&gt;Griego antiguo, [http://orthodoxwiki.org/Byzantine_Chant#The_scale bizantino] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;); [https://orthodoxwiki.org/Byzantine_Notation notación Bizantina] &lt;/span&gt;(&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

======Hoy, según muchos consideran, toca buscar una polifonía más profunda con instrumentos en diferentes temperamentos y afinaciones, sobretodo dividir la octava (y otros intervalos) en números diferentes del 12 ([http://en.wikipedia.org/wiki/Xenharmonic_music Música Xenarmónica]). La Música Xenarmónica es aquella en la que se utilizan sistemas de afinación diferentes del sistema temperado actual (12EDO). El compositor &lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px;"&gt;[https://en.wikipedia.org/wiki/Ivor_Darreg Ivor Darreg]&lt;/span&gt; visibilizó el término, de &lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Xenia_(Greek) xenia]&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt; (&lt;/span&gt;&lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Greek_language Griego]&lt;/span&gt; '''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;ξενία&lt;/span&gt;'''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;), "hospitalario", y &lt;/span&gt;&lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Xenos_(Greek) xenos]&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt; (&lt;/span&gt;&lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Greek_language Griego]&lt;/span&gt; '''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;ξένος&lt;/span&gt;'''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;) "extranjero".&lt;/span&gt;======
&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[Regular_Temperaments|Temperamentos regulares]] (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;): (incluyendo Temperamentos Lineales): una práctica de siglos de antigüedad que ha experimentado un levantón matemático, en la que la Entonación Justa es selectiva y periódicamente desafinada de diversas maneras, para satisfacer mejor una variedad de los deseos de composición, como la modulación armónica o construcción de ciertas propiedades en las escalas.&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[MOSScales|Momento de Simetría]](MOS) (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;): un medio de iteración de un solo intervalo que resulta generativa, con un módulo un intervalo periódico, para producir escamas de dos paso a los tamaños. Creación de Erv Wilson.&lt;/span&gt;&lt;ul&gt;&lt;li&gt;[[Graham_complexity|Complejidad Graham]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;): una medida de complejidad que funciona bien con escalas MOS y de rangos dos temperamentos regulares.&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;/ul&gt;

=&lt;span style="background-color: #ffffff;"&gt;Otros caminos hacia la Xenarmonía&lt;/span&gt;=
&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[Empirical|Empírica]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;): Esta es la forma práctica. La investigación de campo en lugar de ingeniería acústica o construcción de escalas en la que afinaciones se derivan específicamente de escuchar y jugar experimentalmente, llevados a cabo en el continuo sonoro.&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[tetrachord|Escalas Tetracordales]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;); [https://es.wikipedia.org/wiki/Tetracordio Tetracordio]: que utilizan intervalos de cuarta divididas como bloques de construcción para la composición.&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[isoharmonic_chords|Acordes/Escalas Isoarmonicas]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;&lt;span style="background-color: #ffffff;"&gt;[[Notation|Notación]]&lt;/span&gt; y [[Pretty_Pictures|Pretty Pictures]] que representan las escalas de una manera u otra y su notación&lt;/span&gt;&lt;ul&gt;&lt;li&gt;[[Nominal-Accidental_Chains|Cadenas nominal-accidental]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;) de un enfoque común a la notación.&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;/ul&gt;

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;la noción de un [[Scalesmith|Scalesmith]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;) que ''construye'' escalas, con varios métodos, tal vez para ocasiones únicas&lt;/span&gt;&lt;ul&gt;&lt;li&gt;escalas arbitrarias al azar, contra-intuitivas&lt;/li&gt;&lt;li&gt;escalas exigentes computacionalmente basadas ​​en la numerología&lt;/li&gt;&lt;li&gt;escala de estiramiento&lt;/li&gt;&lt;li&gt;basadas ​​acústicamente (frecuencias resonantes del espacio arquitectural donde se realice la interpretación, por ejemplo)&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;/ul&gt;

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[redundancy|La Redundancia]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;) en un sistema de afinación.&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

=&lt;span style="background-color: #ffffff;"&gt;enlaces externos (en inglés)&lt;/span&gt;=
&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;Tonalsoft [http://www.tonalsoft.com/enc/encyclopedia.aspx Enciclopedia de la teoría de la música microtonal] - todo un mar de información sobre el tema, que abarca tanto las teorías de sintonía históricos y desarrollos modernos, de Joe Monzo&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[http://microtonalismo.com/ Microtonalismo] - Web microtonal de Charles Loli&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[http://www.bikexprt.com/music/tunebibl.htm Una bibliografía sobre afinación y temperamento] , compilado por John S. Allen&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;&lt;span style="background-color: #ffffff;"&gt;[http://www.huygens-fokker.org/docs/bibliography.html Afinación y Temperamento Bibliografíco] de la Fundación &lt;/span&gt;[[Huygens-Fokker|Huygens-Fokker]]. Actualizada por Manuel op de Coul&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[http://www.untwelve.org/ UnTwelve] sitio que tiene algunas páginas de interés teórico, incluyendo un [http://www.untwelve.org/what.html fascinante artículo] escrito por Margo Schulter&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;Hermana Alemana de este wiki [[:de:willkommen|"Xenharmonie"]]&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;</text>
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        <username>Xenwolf</username>
        <id>6</id>
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      <comment>Xenwolf trasladó la página [[Orientacion General]] a [[Orientación General]]: corrected Spanisch</comment>
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El Sonido Definido tiene la cualidad de mostrar una onda siempre parecida, tanto en la fundamental como en los Parciales, que están ordenados en una Serie Armónica definida, en este caso los Parciales reciben el nombre de Armónicos; los Instrumentos de Sonido Definido (guitarra, flauta, trompeta,etc.) producen estas resonancias y son una mayoría. El Ruido, en cambio, es un estímulo con una onda cada vez diferente por sus Parciales difíciles de definir o predecir; Instrumentos de Sonido Indefinido, como los de percusión o un portazo, el viento, estática en la televisión, etc., producen estos sonidos; por poseer una Serie de Parciales saturada y/o poquísimo clara, su altura exacta no la podemos discernir.

A lo largo de la historia este concepto ha fundamentado el estudio de las relaciones verticales y horizontales presentes en la música. ([https://es.wikipedia.org/wiki/Ac%C3%BAstica_musical Acústica Musical]) desde la antigüedad el hombre ha desarrollado sistemas musicales. La mayoría de las culturas ancestrales llegó a la pentafonía, quiere decir 5 tonos para hacer música no necesariamente dentro la octava (ni parecida a la música inca o china populares de la actualidad);

Todo Sonido tiene una Fundamental, que es un Tono Puro y un recubrimiento de Parciales; son ondas proporcionales de la nota fundamental en porciones más o menos armónicas que otras. Todos los Parciales pueden vibrar de cualquier manera, pero nuestra necesidad de medición aprecia su representación por medio de fracciones proporcionales, expresadas por Radios. Ahora, cabe decir que dentro de cualquier sonido se encuentra la posibilidad de todos los sonidos, ya que la onda varía siempre, por naturaleza, incluso un Tono Puro, al chocar con objetos o entrar al conducto auditivo externo e interno, ya sufre de cambios que le dan débiles parciales de manera prácticamente aleatoria, obviamente esto no se siente de una manera clara. Gracias a la tecnología actual podemos pensar que todo sonido puede ser tratado (sintetizado) para adquirir el timbre de cualquier otro.

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;El &lt;/span&gt;[https://es.wikipedia.org/wiki/Temperamento_justo Temperamento Justo] o [[Entonación_Justa|Entonación Justa]]&lt;span style="background-color: #ffffff;"&gt;: un mundo infinito de números racionales y numerosos modelos: la serie armónica, Radios basados en números primos, Diamantes de Tonalidad, Eikosanía, etc.&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

anotemos primero que no existe DO o LA como tales, a La le damos el valor de 440hz normalmente, pero La puede ser = 425Hz, 432Hz, 450.6Hz, etc. Naturalmente se da la equivalencia dentro un circulo sonoro, cuando el sistema musical puede reconocer una octava exacta, esto quiere decir que el músico ya acepta 440hz como La y su octava como 880hz. Partiendo de esta noción podemos experimentar con una guitarra, donde notaremos que la mitad de la cuerda (12avo traste) cumple con la octava y teniendo en cuenta que La1=440hz y La2=880hz podemos calcular que la octava hacia abajo es un medio de la tónica (1/2) y hacia arriba una multiplicación por 2, ahora el siguiente avance es reconocer la quinta justa que es 3/2 de la cuerda, cuando tocas un armónico de la guitarra sobre el quinto grado justamente se cumple esta fracción, una octava más arriba de la octava original, como sabemos su inversión nos deja conocer el cuarto grado, luego la tercera mayor. Nótese que si calculamos las fracciones justas más simples de 440hz nos dan número enteros, ej Mi=660hz y esto define nuestras notas consideradas como consonancias o disonancias (mientras más simple sea la fracción, más consonante será al oído, por los parciales armónicos). ([http://es.wikipedia.org/wiki/Afinaci%C3%B3n_pitag%C3%B3rica Afinación Pitagórica]) Pitágoras veía en el mundo la divinidad de las matemáticas, por ende calcular estas fracciones era muy importante para él, la escala pitagórica esta formada por una sucesión de quintas justas que dan 12 notas más o menos cercanas a las vibraciones resultantes de los armónicos; en base a los criterios atribuidos a este personaje se desarrolló la mayoría de la teoría musical de occidente y de algunos sistemas de medio oriente; los Radios resultantes fueron variando bajo ciertos criterios y culturas, para no extendernos mucho decimos que los armónicos son Do=1 Re=9/8 Mi=5/4 Fa=4/3 Sol=3/2 La=5/3 Si=15/8 Do(octava)=2 (Do puidiendo ser cualquier vibración Fundamental), esto es la afinación justa y es hecha en base a los parciales armónicos exactos.

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://es.wikipedia.org/wiki/Temperamento_mesot%C3%B3nico Temperamento Mesotónico]&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://en.wikipedia.org/wiki/Well_temperament Buenos Temperamentos] &lt;/span&gt;(&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

La música suena muy bien monofónicamente o con armonías simples, pero ahora tenemos un problema: en un sistema de afinación justa podemos tocar en Do mayor y sonará de maravilla, pero si tocamos en Solb(por ejemplo), los tonos no están acomodados a la serie armónica, entonces será necesario afinar estas fracciones para Solb; es por este detalle que se tempera un instrumento, osea se mueve un poco la vibración resultante de las fracciones para que las tonalidades tengan más acercamiento a parciales en común, esto debe entenderse como una renuncia obligatoria a los parciales exactos, pero los cambios suelen ser tan sutiles que apenas se notan, y se notan más o menos en diferentes tonalidades. El proceso de estudio es largo y escabroso, pues los sonidos se pierden en el aire y es difícil poder entender cómo afinaban exactamente los griegos o romanos, en fin, para la cultura occidental se considera un punto de inflexión la época de Bach, por haber podido sintetizar un temperamento y una música que se acomodaba para cada una de las tonalidades del teclado (con el Clave Bien Temperado, efectivamente), eso sí hay que recordar que la afinación de Bach no se sabe hoy con exactitud, él no dejó prosa al respecto y lo más parecido que conocemos es la afinación Werckmeister III, y justamente sabemos esto porque la obra de Bach es una especie de apoteosis de los avances en el contrapunto, la construcción de claves, el nacer del piano, y las matemáticas simples que facilitaron las maneras de temperar. Tengamos en cuenta también que a Bach no lo interpretamos hoy con esta afinación.

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[Equal_Temperaments|Temperamentos Equitativos]] (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;): cada uno de ellos con una única colección de intervalos totalmente transportables y modulables. Pueden ser tratados como Temperamentos o no.&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

Así pudimos acercarnos a las divisiones equitativas de la octava, que es lo que utilizamos hoy en día como temperamento generalizado (12EDO) ([http://es.wikipedia.org/wiki/Temperamento_igual Temperamento Equitativo]), que funciona dividiendo la octava en una progresión logarítmica donde cada semitono es igual a otro en distancia musical, es por eso que las guitarras, bajos, mandolinas, charangos, bandurrias, ukeleles, etc., tienen los trastes de esa manera y se pueden tocar en todas las tonalidades. [https://es.wikipedia.org/wiki/Juli%C3%A1n_Carrillo Julián Carrillo], [https://es.wikipedia.org/wiki/Alois_H%C3%A1ba Alois Habá], [https://en.wikipedia.org/wiki/Nikolai_Obukhov Nicolás Obujov], [https://en.wikipedia.org/wiki/Ivan_Wyschnegradsky Iván Wyschnegradsky], etc., resaltan por sus esfuerzos para irrumpir en la microtonalidad por medio de la división del tono, sea cuartos de tono (24EDO), sextos de tono (36EDO), octavos de tono (48EDO) y dieciseisavos de tono (96EDO).

&lt;span style="background-color: #ffffff;"&gt;En la práctica común global e histórica, el olvidado uso de [[historical_temperaments|temperamentos históricos]] (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;):&lt;/span&gt;

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_folcl%C3%B3rica_de_Turqu%C3%ADa Música Turka]; desarrollo del [https://en.wikipedia.org/wiki/Makam Makam] &lt;/span&gt;(&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_%C3%A1rabe Música Árabe]&lt;/span&gt;&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_tradicional_persa Música Persa]&lt;/li&gt;&lt;li&gt;Acercamiento Xenarmónico a la Música [[Arabic,_Turkish,_Persian|Árabe, turco, persa]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_cl%C3%A1sica_de_India Música de la India]&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/M%C3%BAsica_africana Música Africana]; [https://es.wikipedia.org/wiki/M%C3%BAsica_de_Nigeria Música de Nigeria]&lt;/li&gt;&lt;li&gt;Música Tailandesa; [https://es.wikipedia.org/wiki/Pong_lang Pong Lang]; [https://es.wikipedia.org/wiki/Luk_thung Luk Thung];&lt;/li&gt;&lt;li&gt;[[Pre-Columbian_South_American_Music|Precolombina de América del Sur]] (por ejemplo, Maya, Inca, Azteca ..) (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;[https://es.wikipedia.org/wiki/Gamel%C3%A1n Música Gamelán]; [https://es.wikipedia.org/wiki/Cultura_de_Indonesia Cultura Indonesia];&lt;/li&gt;&lt;li&gt;Griego antiguo, [http://orthodoxwiki.org/Byzantine_Chant#The_scale bizantino] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;); [https://orthodoxwiki.org/Byzantine_Notation notación Bizantina] &lt;/span&gt;(&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

======Hoy, según muchos consideran, toca buscar una polifonía más profunda con instrumentos en diferentes temperamentos y afinaciones, sobretodo dividir la octava (y otros intervalos) en números diferentes del 12 ([http://en.wikipedia.org/wiki/Xenharmonic_music Música Xenarmónica]). La Música Xenarmónica es aquella en la que se utilizan sistemas de afinación diferentes del sistema temperado actual (12EDO). El compositor &lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px;"&gt;[https://en.wikipedia.org/wiki/Ivor_Darreg Ivor Darreg]&lt;/span&gt; visibilizó el término, de &lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Xenia_(Greek) xenia]&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt; (&lt;/span&gt;&lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Greek_language Griego]&lt;/span&gt; '''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;ξενία&lt;/span&gt;'''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;), "hospitalario", y &lt;/span&gt;&lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Xenos_(Greek) xenos]&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt; (&lt;/span&gt;&lt;span style="color: #0b0080; font-family: sans-serif; font-size: 14px; text-decoration: none;"&gt;[https://en.wikipedia.org/wiki/Greek_language Griego]&lt;/span&gt; '''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;ξένος&lt;/span&gt;'''&lt;span style="background-color: #ffffff; color: #222222; font-family: sans-serif; font-size: 14px;"&gt;) "extranjero".&lt;/span&gt;======
&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[Regular_Temperaments|Temperamentos regulares]] (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;): (incluyendo Temperamentos Lineales): una práctica de siglos de antigüedad que ha experimentado un levantón matemático, en la que la Entonación Justa es selectiva y periódicamente desafinada de diversas maneras, para satisfacer mejor una variedad de los deseos de composición, como la modulación armónica o construcción de ciertas propiedades en las escalas.&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[MOSScales|Momento de Simetría]](MOS) (&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;): un medio de iteración de un solo intervalo que resulta generativa, con un módulo un intervalo periódico, para producir escamas de dos paso a los tamaños. Creación de Erv Wilson.&lt;/span&gt;&lt;ul&gt;&lt;li&gt;[[Graham_complexity|Complejidad Graham]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;): una medida de complejidad que funciona bien con escalas MOS y de rangos dos temperamentos regulares.&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;/ul&gt;

=&lt;span style="background-color: #ffffff;"&gt;Otros caminos hacia la Xenarmonía&lt;/span&gt;=
&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[Empirical|Empírica]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;): Esta es la forma práctica. La investigación de campo en lugar de ingeniería acústica o construcción de escalas en la que afinaciones se derivan específicamente de escuchar y jugar experimentalmente, llevados a cabo en el continuo sonoro.&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[tetrachord|Escalas Tetracordales]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;); [https://es.wikipedia.org/wiki/Tetracordio Tetracordio]: que utilizan intervalos de cuarta divididas como bloques de construcción para la composición.&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[isoharmonic_chords|Acordes/Escalas Isoarmonicas]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;)&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;&lt;span style="background-color: #ffffff;"&gt;[[Notation|Notación]]&lt;/span&gt; y [[Pretty_Pictures|Pretty Pictures]] que representan las escalas de una manera u otra y su notación&lt;/span&gt;&lt;ul&gt;&lt;li&gt;[[Nominal-Accidental_Chains|Cadenas nominal-accidental]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;) de un enfoque común a la notación.&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;/ul&gt;

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;la noción de un [[Scalesmith|Scalesmith]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;) que ''construye'' escalas, con varios métodos, tal vez para ocasiones únicas&lt;/span&gt;&lt;ul&gt;&lt;li&gt;escalas arbitrarias al azar, contra-intuitivas&lt;/li&gt;&lt;li&gt;escalas exigentes computacionalmente basadas ​​en la numerología&lt;/li&gt;&lt;li&gt;escala de estiramiento&lt;/li&gt;&lt;li&gt;basadas ​​acústicamente (frecuencias resonantes del espacio arquitectural donde se realice la interpretación, por ejemplo)&lt;/li&gt;&lt;/ul&gt;&lt;/li&gt;&lt;/ul&gt;

&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[[redundancy|La Redundancia]] (&lt;span style="color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;) en un sistema de afinación.&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;

=&lt;span style="background-color: #ffffff;"&gt;enlaces externos (en inglés)&lt;/span&gt;=
&lt;ul&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;Tonalsoft [http://www.tonalsoft.com/enc/encyclopedia.aspx Enciclopedia de la teoría de la música microtonal] - todo un mar de información sobre el tema, que abarca tanto las teorías de sintonía históricos y desarrollos modernos, de Joe Monzo&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[http://microtonalismo.com/ Microtonalismo] - Web microtonal de Charles Loli&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[http://www.bikexprt.com/music/tunebibl.htm Una bibliografía sobre afinación y temperamento] , compilado por John S. Allen&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;&lt;span style="background-color: #ffffff;"&gt;[http://www.huygens-fokker.org/docs/bibliography.html Afinación y Temperamento Bibliografíco] de la Fundación &lt;/span&gt;[[Huygens-Fokker|Huygens-Fokker]]. Actualizada por Manuel op de Coul&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;[http://www.untwelve.org/ UnTwelve] sitio que tiene algunas páginas de interés teórico, incluyendo un [http://www.untwelve.org/what.html fascinante artículo] escrito por Margo Schulter&lt;/span&gt;&lt;/li&gt;&lt;li&gt;&lt;span style="background-color: #ffffff;"&gt;Hermana Alemana de este wiki [[:de:willkommen|"Xenharmonie"]]&lt;/span&gt;&lt;/li&gt;&lt;/ul&gt;</text>
      <sha1>6xuytdzw4pa2sad0y0aakt284h1aq0z</sha1>
    </revision>
  </page>
  <page>
    <title>Radio</title>
    <ns>0</ns>
    <id>59</id>
    <revision>
      <id>206</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
      </contributor>
      <origin>206</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="5531" sha1="kasv2msctn8n7e45x3c3bncx73g2iod" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[Ratios|English]]&lt;/span&gt;

La manera q tenemos de expresar las proporciones que se tocan de una cuerda, entendiendo así las vibraciones de los Parciales y Armónicos que se dan en razón de dichas proporciones. Se tiene el criterio de que mientras más simple la relación de las variables de un Radio, más Consonante será al oído humano, aunque esto no siempre se cumple en la práctica, ya q 10:7, un tipo de Tritono es muy atractivo para el hard rock por ejemplo, pero se piensa de esta manera para estudiar lo q nos atañe. Lo que estudiamos por el momento es la proporcionalidad de un monocordio afinado a X Hz; anotaremos los RADIOS con el valor mayor primero, o sea en el Numerador (p.Ej 10:7 indica q se divide la cuerda en 10 partes materiales iguales de la cuerda y se tocaban 7 de éstas). Anotamos 1:1 como la fundamental, significando que se toca la cuerda sin dividirla, en el caso de la octava 2:1, se parte la cuerda en 2 y se toca una mitad, En el caso de la quinta 3:2, tocamos dos tercios de la cuerda, como con la doceava 3:1 tocamos un solo tercio de la misma, etc.

Cuando anotamos el número menor primero el salto resultante será negativo, como 2:3 que también consiste en una quinta, pero descendente, etc. Imaginemos una cuerda. La cuerda se divide en porciones materialmente equitativas marcadas “.”, se ve cortada por una navaja “i”, el lado derecho de la cuerda interrumpida por “i” es el que suena.

I------------------------I 1:1

I-----------i------------I 2:1

I-------.-------i--------I 3:1

I--------i-------.-------I 3:2

I------.-----.-----i-----I 4:1

I----.----.----.----i----I 5:1

Esto nos ayuda a calcular los Hz, por ejemplo, si la frecuencia fundamental es 100Hz, 2:1 tendrá 200Hz, 3:2 tendrá 150Hz, 7:5 tendrá 140Hz. Si la fundamental es 440Hz y deseamos saber la altura de 3:2, entonces 440Hz*(3:2) = 660Hz, 440*(3:1) = 1320Hz.

&lt;span style="display: block; text-align: justify;"&gt;&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt;"&gt;[[File:RadiohaciaCents.png|alt=RadiohaciaCents.png|419x49px|RadiohaciaCents.png]]&lt;/span&gt;&lt;/span&gt;

Cuando anotamos el número menor como Numerador el salto resultante será negativo, como 2/3, que también consiste en una quinta, pero descendente. Podemos anotar los Radios con “/”, “\” o “:”, si vemos 3/2 entendemos 3:2 para ser calculado como fracción; si vemos 3\2 entendemos 2:3 y si vemos 2/3 entendemos 2:3 de la misma manera. Cuando vemos 2:3 sobreentendemos, sin embargo, que es indiferente cuál de los números va primero, siempre se tendrá en cuenta como 3:2, esta convención es para poder calcular en el papel con facilidad.

Las distancias de los Radios se suman como multiplicación de fracciones, como la distancia de 5:4 sumada a la distancia 6:4 se escribe 5/4*6/5 = 30:20 = 3:2, pero también es expresable 4\5*6/5 = 2:3 o taxativamente como distancias musicales 5:4+6:5 = 30:20 = 3:2. Estas distancias se restan de la misma manera, como fracciones, como 3:2 menos un trecho de 6:5 se escribe 3/2*5/6 = 15:12 = 5:4 y es expresable en distancia musical estricta como 3:2-6:5 = 15:12 = 5:4.

&lt;span style="background-color: #ffffff;"&gt;Los acordes pueden escribirse como una serie de intervalos expresados en Radio, como el acorde de 1/1-5/4-3/2. T&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;ambién se expresan como proporciones taxativamente musicales, por ejemplo, el acorde mayor en Entonación Justa, en estado fundamental, es 4:5:6. (Cuando los acordes se expresan como proporciones, la regla anterior acerca de las notas que están por encima o por debajo de un tono de base no se aplica por lo general).&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;La [http://en.wikipedia.org/wiki/Harmonic_series_%28music%29 serie armónica]&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;) puede ser representado como una relación 1:2:3:4:5:6:7:8:9:10:11:12:13:14:15:16:17 ... etc.&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;En el contexto de la entonación justa, proporciones casi siempre se utilizan para etiquetar e identificar los intervalos y los acordes. Sin embargo, el uso de relaciones para identificar intervalos y acordes en escalas temperadas es también común, en estos casos se da a entender que los tonos están en una&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; aproximación aceptable&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; a las notas indicadas. Por ejemplo, una expresión abreviada común podría ser&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; "4:6:7:9:11 acordes en [[17edo|17-EDO]]&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;"&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; que en realidad significa&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; "Los [[Chords|acordes]]&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; en el que las notas están en la relación aproximada de 4:6:7:9:11 dentro el 17-EDO ".&lt;/span&gt;''</text>
      <sha1>kasv2msctn8n7e45x3c3bncx73g2iod</sha1>
    </revision>
    <revision>
      <id>207</id>
      <parentid>206</parentid>
      <timestamp>2018-10-01T18:57:42Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
      <origin>207</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="5531" sha1="kasv2msctn8n7e45x3c3bncx73g2iod" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[Ratios|English]]&lt;/span&gt;

La manera q tenemos de expresar las proporciones que se tocan de una cuerda, entendiendo así las vibraciones de los Parciales y Armónicos que se dan en razón de dichas proporciones. Se tiene el criterio de que mientras más simple la relación de las variables de un Radio, más Consonante será al oído humano, aunque esto no siempre se cumple en la práctica, ya q 10:7, un tipo de Tritono es muy atractivo para el hard rock por ejemplo, pero se piensa de esta manera para estudiar lo q nos atañe. Lo que estudiamos por el momento es la proporcionalidad de un monocordio afinado a X Hz; anotaremos los RADIOS con el valor mayor primero, o sea en el Numerador (p.Ej 10:7 indica q se divide la cuerda en 10 partes materiales iguales de la cuerda y se tocaban 7 de éstas). Anotamos 1:1 como la fundamental, significando que se toca la cuerda sin dividirla, en el caso de la octava 2:1, se parte la cuerda en 2 y se toca una mitad, En el caso de la quinta 3:2, tocamos dos tercios de la cuerda, como con la doceava 3:1 tocamos un solo tercio de la misma, etc.

Cuando anotamos el número menor primero el salto resultante será negativo, como 2:3 que también consiste en una quinta, pero descendente, etc. Imaginemos una cuerda. La cuerda se divide en porciones materialmente equitativas marcadas “.”, se ve cortada por una navaja “i”, el lado derecho de la cuerda interrumpida por “i” es el que suena.

I------------------------I 1:1

I-----------i------------I 2:1

I-------.-------i--------I 3:1

I--------i-------.-------I 3:2

I------.-----.-----i-----I 4:1

I----.----.----.----i----I 5:1

Esto nos ayuda a calcular los Hz, por ejemplo, si la frecuencia fundamental es 100Hz, 2:1 tendrá 200Hz, 3:2 tendrá 150Hz, 7:5 tendrá 140Hz. Si la fundamental es 440Hz y deseamos saber la altura de 3:2, entonces 440Hz*(3:2) = 660Hz, 440*(3:1) = 1320Hz.

&lt;span style="display: block; text-align: justify;"&gt;&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt;"&gt;[[File:RadiohaciaCents.png|alt=RadiohaciaCents.png|419x49px|RadiohaciaCents.png]]&lt;/span&gt;&lt;/span&gt;

Cuando anotamos el número menor como Numerador el salto resultante será negativo, como 2/3, que también consiste en una quinta, pero descendente. Podemos anotar los Radios con “/”, “\” o “:”, si vemos 3/2 entendemos 3:2 para ser calculado como fracción; si vemos 3\2 entendemos 2:3 y si vemos 2/3 entendemos 2:3 de la misma manera. Cuando vemos 2:3 sobreentendemos, sin embargo, que es indiferente cuál de los números va primero, siempre se tendrá en cuenta como 3:2, esta convención es para poder calcular en el papel con facilidad.

Las distancias de los Radios se suman como multiplicación de fracciones, como la distancia de 5:4 sumada a la distancia 6:4 se escribe 5/4*6/5 = 30:20 = 3:2, pero también es expresable 4\5*6/5 = 2:3 o taxativamente como distancias musicales 5:4+6:5 = 30:20 = 3:2. Estas distancias se restan de la misma manera, como fracciones, como 3:2 menos un trecho de 6:5 se escribe 3/2*5/6 = 15:12 = 5:4 y es expresable en distancia musical estricta como 3:2-6:5 = 15:12 = 5:4.

&lt;span style="background-color: #ffffff;"&gt;Los acordes pueden escribirse como una serie de intervalos expresados en Radio, como el acorde de 1/1-5/4-3/2. T&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;ambién se expresan como proporciones taxativamente musicales, por ejemplo, el acorde mayor en Entonación Justa, en estado fundamental, es 4:5:6. (Cuando los acordes se expresan como proporciones, la regla anterior acerca de las notas que están por encima o por debajo de un tono de base no se aplica por lo general).&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;La [http://en.wikipedia.org/wiki/Harmonic_series_%28music%29 serie armónica]&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;) puede ser representado como una relación 1:2:3:4:5:6:7:8:9:10:11:12:13:14:15:16:17 ... etc.&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;En el contexto de la entonación justa, proporciones casi siempre se utilizan para etiquetar e identificar los intervalos y los acordes. Sin embargo, el uso de relaciones para identificar intervalos y acordes en escalas temperadas es también común, en estos casos se da a entender que los tonos están en una&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; aproximación aceptable&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; a las notas indicadas. Por ejemplo, una expresión abreviada común podría ser&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; "4:6:7:9:11 acordes en [[17edo|17-EDO]]&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;"&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; que en realidad significa&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; "Los [[Chords|acordes]]&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; en el que las notas están en la relación aproximada de 4:6:7:9:11 dentro el 17-EDO ".&lt;/span&gt;''</text>
      <sha1>kasv2msctn8n7e45x3c3bncx73g2iod</sha1>
    </revision>
    <revision>
      <id>316</id>
      <parentid>207</parentid>
      <timestamp>2020-09-13T12:18:02Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>fixed interwiki en</comment>
      <origin>316</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="5512" sha1="p142dccnstre7l33jll1ka7ka2rdq2f" xml:space="preserve">{{interwiki
| de = 
| en = Ratio
| es = Radio
| ja = 
}}
La manera q tenemos de expresar las proporciones que se tocan de una cuerda, entendiendo así las vibraciones de los Parciales y Armónicos que se dan en razón de dichas proporciones. Se tiene el criterio de que mientras más simple la relación de las variables de un Radio, más Consonante será al oído humano, aunque esto no siempre se cumple en la práctica, ya q 10:7, un tipo de Tritono es muy atractivo para el hard rock por ejemplo, pero se piensa de esta manera para estudiar lo q nos atañe. Lo que estudiamos por el momento es la proporcionalidad de un monocordio afinado a X Hz; anotaremos los RADIOS con el valor mayor primero, o sea en el Numerador (p.Ej 10:7 indica q se divide la cuerda en 10 partes materiales iguales de la cuerda y se tocaban 7 de éstas). Anotamos 1:1 como la fundamental, significando que se toca la cuerda sin dividirla, en el caso de la octava 2:1, se parte la cuerda en 2 y se toca una mitad, En el caso de la quinta 3:2, tocamos dos tercios de la cuerda, como con la doceava 3:1 tocamos un solo tercio de la misma, etc.

Cuando anotamos el número menor primero el salto resultante será negativo, como 2:3 que también consiste en una quinta, pero descendente, etc. Imaginemos una cuerda. La cuerda se divide en porciones materialmente equitativas marcadas “.”, se ve cortada por una navaja “i”, el lado derecho de la cuerda interrumpida por “i” es el que suena.

I------------------------I 1:1

I-----------i------------I 2:1

I-------.-------i--------I 3:1

I--------i-------.-------I 3:2

I------.-----.-----i-----I 4:1

I----.----.----.----i----I 5:1

Esto nos ayuda a calcular los Hz, por ejemplo, si la frecuencia fundamental es 100Hz, 2:1 tendrá 200Hz, 3:2 tendrá 150Hz, 7:5 tendrá 140Hz. Si la fundamental es 440Hz y deseamos saber la altura de 3:2, entonces 440Hz*(3:2) = 660Hz, 440*(3:1) = 1320Hz.

&lt;span style="display: block; text-align: justify;"&gt;&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt;"&gt;[[File:RadiohaciaCents.png|alt=RadiohaciaCents.png|419x49px|RadiohaciaCents.png]]&lt;/span&gt;&lt;/span&gt;

Cuando anotamos el número menor como Numerador el salto resultante será negativo, como 2/3, que también consiste en una quinta, pero descendente. Podemos anotar los Radios con “/”, “\” o “:”, si vemos 3/2 entendemos 3:2 para ser calculado como fracción; si vemos 3\2 entendemos 2:3 y si vemos 2/3 entendemos 2:3 de la misma manera. Cuando vemos 2:3 sobreentendemos, sin embargo, que es indiferente cuál de los números va primero, siempre se tendrá en cuenta como 3:2, esta convención es para poder calcular en el papel con facilidad.

Las distancias de los Radios se suman como multiplicación de fracciones, como la distancia de 5:4 sumada a la distancia 6:4 se escribe 5/4*6/5 = 30:20 = 3:2, pero también es expresable 4\5*6/5 = 2:3 o taxativamente como distancias musicales 5:4+6:5 = 30:20 = 3:2. Estas distancias se restan de la misma manera, como fracciones, como 3:2 menos un trecho de 6:5 se escribe 3/2*5/6 = 15:12 = 5:4 y es expresable en distancia musical estricta como 3:2-6:5 = 15:12 = 5:4.

&lt;span style="background-color: #ffffff;"&gt;Los acordes pueden escribirse como una serie de intervalos expresados en Radio, como el acorde de 1/1-5/4-3/2. T&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;ambién se expresan como proporciones taxativamente musicales, por ejemplo, el acorde mayor en Entonación Justa, en estado fundamental, es 4:5:6. (Cuando los acordes se expresan como proporciones, la regla anterior acerca de las notas que están por encima o por debajo de un tono de base no se aplica por lo general).&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;La [http://en.wikipedia.org/wiki/Harmonic_series_%28music%29 serie armónica]&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;) puede ser representado como una relación 1:2:3:4:5:6:7:8:9:10:11:12:13:14:15:16:17 ... etc.&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;En el contexto de la entonación justa, proporciones casi siempre se utilizan para etiquetar e identificar los intervalos y los acordes. Sin embargo, el uso de relaciones para identificar intervalos y acordes en escalas temperadas es también común, en estos casos se da a entender que los tonos están en una&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; aproximación aceptable&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; a las notas indicadas. Por ejemplo, una expresión abreviada común podría ser&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; "4:6:7:9:11 acordes en [[17edo|17-EDO]]&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;"&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; que en realidad significa&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; "Los [[Chords|acordes]]&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; en el que las notas están en la relación aproximada de 4:6:7:9:11 dentro el 17-EDO ".&lt;/span&gt;''</text>
      <sha1>p142dccnstre7l33jll1ka7ka2rdq2f</sha1>
    </revision>
    <revision>
      <id>335</id>
      <parentid>316</parentid>
      <timestamp>2026-07-11T10:21:54Z</timestamp>
      <contributor>
        <username>Hstraub</username>
        <id>7</id>
      </contributor>
      <origin>335</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="5527" sha1="6vfa2z4ewl2nwo29u8bqo9z92r58o5y" xml:space="preserve">{{interwiki
| de = 
| en = Ratio
| es = Radio
| ja = 周波数比率
}}
La manera q tenemos de expresar las proporciones que se tocan de una cuerda, entendiendo así las vibraciones de los Parciales y Armónicos que se dan en razón de dichas proporciones. Se tiene el criterio de que mientras más simple la relación de las variables de un Radio, más Consonante será al oído humano, aunque esto no siempre se cumple en la práctica, ya q 10:7, un tipo de Tritono es muy atractivo para el hard rock por ejemplo, pero se piensa de esta manera para estudiar lo q nos atañe. Lo que estudiamos por el momento es la proporcionalidad de un monocordio afinado a X Hz; anotaremos los RADIOS con el valor mayor primero, o sea en el Numerador (p.Ej 10:7 indica q se divide la cuerda en 10 partes materiales iguales de la cuerda y se tocaban 7 de éstas). Anotamos 1:1 como la fundamental, significando que se toca la cuerda sin dividirla, en el caso de la octava 2:1, se parte la cuerda en 2 y se toca una mitad, En el caso de la quinta 3:2, tocamos dos tercios de la cuerda, como con la doceava 3:1 tocamos un solo tercio de la misma, etc.

Cuando anotamos el número menor primero el salto resultante será negativo, como 2:3 que también consiste en una quinta, pero descendente, etc. Imaginemos una cuerda. La cuerda se divide en porciones materialmente equitativas marcadas “.”, se ve cortada por una navaja “i”, el lado derecho de la cuerda interrumpida por “i” es el que suena.

I------------------------I 1:1

I-----------i------------I 2:1

I-------.-------i--------I 3:1

I--------i-------.-------I 3:2

I------.-----.-----i-----I 4:1

I----.----.----.----i----I 5:1

Esto nos ayuda a calcular los Hz, por ejemplo, si la frecuencia fundamental es 100Hz, 2:1 tendrá 200Hz, 3:2 tendrá 150Hz, 7:5 tendrá 140Hz. Si la fundamental es 440Hz y deseamos saber la altura de 3:2, entonces 440Hz*(3:2) = 660Hz, 440*(3:1) = 1320Hz.

&lt;span style="display: block; text-align: justify;"&gt;&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt;"&gt;[[File:RadiohaciaCents.png|alt=RadiohaciaCents.png|419x49px|RadiohaciaCents.png]]&lt;/span&gt;&lt;/span&gt;

Cuando anotamos el número menor como Numerador el salto resultante será negativo, como 2/3, que también consiste en una quinta, pero descendente. Podemos anotar los Radios con “/”, “\” o “:”, si vemos 3/2 entendemos 3:2 para ser calculado como fracción; si vemos 3\2 entendemos 2:3 y si vemos 2/3 entendemos 2:3 de la misma manera. Cuando vemos 2:3 sobreentendemos, sin embargo, que es indiferente cuál de los números va primero, siempre se tendrá en cuenta como 3:2, esta convención es para poder calcular en el papel con facilidad.

Las distancias de los Radios se suman como multiplicación de fracciones, como la distancia de 5:4 sumada a la distancia 6:4 se escribe 5/4*6/5 = 30:20 = 3:2, pero también es expresable 4\5*6/5 = 2:3 o taxativamente como distancias musicales 5:4+6:5 = 30:20 = 3:2. Estas distancias se restan de la misma manera, como fracciones, como 3:2 menos un trecho de 6:5 se escribe 3/2*5/6 = 15:12 = 5:4 y es expresable en distancia musical estricta como 3:2-6:5 = 15:12 = 5:4.

&lt;span style="background-color: #ffffff;"&gt;Los acordes pueden escribirse como una serie de intervalos expresados en Radio, como el acorde de 1/1-5/4-3/2. T&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;ambién se expresan como proporciones taxativamente musicales, por ejemplo, el acorde mayor en Entonación Justa, en estado fundamental, es 4:5:6. (Cuando los acordes se expresan como proporciones, la regla anterior acerca de las notas que están por encima o por debajo de un tono de base no se aplica por lo general).&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;La [http://en.wikipedia.org/wiki/Harmonic_series_%28music%29 serie armónica]&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;) puede ser representado como una relación 1:2:3:4:5:6:7:8:9:10:11:12:13:14:15:16:17 ... etc.&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;En el contexto de la entonación justa, proporciones casi siempre se utilizan para etiquetar e identificar los intervalos y los acordes. Sin embargo, el uso de relaciones para identificar intervalos y acordes en escalas temperadas es también común, en estos casos se da a entender que los tonos están en una&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; aproximación aceptable&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; a las notas indicadas. Por ejemplo, una expresión abreviada común podría ser&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; "4:6:7:9:11 acordes en [[17edo|17-EDO]]&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;"&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; que en realidad significa&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; "Los [[Chords|acordes]]&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; en el que las notas están en la relación aproximada de 4:6:7:9:11 dentro el 17-EDO ".&lt;/span&gt;''</text>
      <sha1>6vfa2z4ewl2nwo29u8bqo9z92r58o5y</sha1>
    </revision>
    <revision>
      <id>361</id>
      <parentid>335</parentid>
      <timestamp>2026-07-17T05:18:13Z</timestamp>
      <contributor>
        <username>Fredg999</username>
        <id>12</id>
      </contributor>
      <minor/>
      <comment>Interwiki</comment>
      <origin>361</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="5537" sha1="1uourgpscub7jg6k7iu80cfeirmuvwi" xml:space="preserve">{{Interwiki
| de = 
| en = Frequency ratio
| es = Radio
| ja = 周波数比率
}}
La manera q tenemos de expresar las proporciones que se tocan de una cuerda, entendiendo así las vibraciones de los Parciales y Armónicos que se dan en razón de dichas proporciones. Se tiene el criterio de que mientras más simple la relación de las variables de un Radio, más Consonante será al oído humano, aunque esto no siempre se cumple en la práctica, ya q 10:7, un tipo de Tritono es muy atractivo para el hard rock por ejemplo, pero se piensa de esta manera para estudiar lo q nos atañe. Lo que estudiamos por el momento es la proporcionalidad de un monocordio afinado a X Hz; anotaremos los RADIOS con el valor mayor primero, o sea en el Numerador (p.Ej 10:7 indica q se divide la cuerda en 10 partes materiales iguales de la cuerda y se tocaban 7 de éstas). Anotamos 1:1 como la fundamental, significando que se toca la cuerda sin dividirla, en el caso de la octava 2:1, se parte la cuerda en 2 y se toca una mitad, En el caso de la quinta 3:2, tocamos dos tercios de la cuerda, como con la doceava 3:1 tocamos un solo tercio de la misma, etc.

Cuando anotamos el número menor primero el salto resultante será negativo, como 2:3 que también consiste en una quinta, pero descendente, etc. Imaginemos una cuerda. La cuerda se divide en porciones materialmente equitativas marcadas “.”, se ve cortada por una navaja “i”, el lado derecho de la cuerda interrumpida por “i” es el que suena.

I------------------------I 1:1

I-----------i------------I 2:1

I-------.-------i--------I 3:1

I--------i-------.-------I 3:2

I------.-----.-----i-----I 4:1

I----.----.----.----i----I 5:1

Esto nos ayuda a calcular los Hz, por ejemplo, si la frecuencia fundamental es 100Hz, 2:1 tendrá 200Hz, 3:2 tendrá 150Hz, 7:5 tendrá 140Hz. Si la fundamental es 440Hz y deseamos saber la altura de 3:2, entonces 440Hz*(3:2) = 660Hz, 440*(3:1) = 1320Hz.

&lt;span style="display: block; text-align: justify;"&gt;&lt;span style="font-family: Calibri,sans-serif; font-size: 11pt;"&gt;[[File:RadiohaciaCents.png|alt=RadiohaciaCents.png|419x49px|RadiohaciaCents.png]]&lt;/span&gt;&lt;/span&gt;

Cuando anotamos el número menor como Numerador el salto resultante será negativo, como 2/3, que también consiste en una quinta, pero descendente. Podemos anotar los Radios con “/”, “\” o “:”, si vemos 3/2 entendemos 3:2 para ser calculado como fracción; si vemos 3\2 entendemos 2:3 y si vemos 2/3 entendemos 2:3 de la misma manera. Cuando vemos 2:3 sobreentendemos, sin embargo, que es indiferente cuál de los números va primero, siempre se tendrá en cuenta como 3:2, esta convención es para poder calcular en el papel con facilidad.

Las distancias de los Radios se suman como multiplicación de fracciones, como la distancia de 5:4 sumada a la distancia 6:4 se escribe 5/4*6/5 = 30:20 = 3:2, pero también es expresable 4\5*6/5 = 2:3 o taxativamente como distancias musicales 5:4+6:5 = 30:20 = 3:2. Estas distancias se restan de la misma manera, como fracciones, como 3:2 menos un trecho de 6:5 se escribe 3/2*5/6 = 15:12 = 5:4 y es expresable en distancia musical estricta como 3:2-6:5 = 15:12 = 5:4.

&lt;span style="background-color: #ffffff;"&gt;Los acordes pueden escribirse como una serie de intervalos expresados en Radio, como el acorde de 1/1-5/4-3/2. T&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;ambién se expresan como proporciones taxativamente musicales, por ejemplo, el acorde mayor en Entonación Justa, en estado fundamental, es 4:5:6. (Cuando los acordes se expresan como proporciones, la regla anterior acerca de las notas que están por encima o por debajo de un tono de base no se aplica por lo general).&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;La [http://en.wikipedia.org/wiki/Harmonic_series_%28music%29 serie armónica]&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;) puede ser representado como una relación 1:2:3:4:5:6:7:8:9:10:11:12:13:14:15:16:17 ... etc.&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;En el contexto de la entonación justa, proporciones casi siempre se utilizan para etiquetar e identificar los intervalos y los acordes. Sin embargo, el uso de relaciones para identificar intervalos y acordes en escalas temperadas es también común, en estos casos se da a entender que los tonos están en una&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; aproximación aceptable&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; a las notas indicadas. Por ejemplo, una expresión abreviada común podría ser&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; "4:6:7:9:11 acordes en [[17edo|17-EDO]]&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;"&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; que en realidad significa&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; "Los [[Chords|acordes]]&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;''&lt;span style="background-color: #ffffff;"&gt; en el que las notas están en la relación aproximada de 4:6:7:9:11 dentro el 17-EDO ".&lt;/span&gt;''</text>
      <sha1>1uourgpscub7jg6k7iu80cfeirmuvwi</sha1>
    </revision>
  </page>
  <page>
    <title>Relación Diádica</title>
    <ns>0</ns>
    <id>60</id>
    <revision>
      <id>208</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
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        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
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      <model>wikitext</model>
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      <text bytes="13108" sha1="h161m0yxt5s5xbeol5nr2zqhxg78b2o" xml:space="preserve">&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Por ''&lt;span style="font-family: Arial,sans-serif;"&gt;relación diádica&lt;/span&gt;'' se entienden las relaciones existentes entre notas de un acorde en el que cada uno de los intervalos pertenece a un conjunto específico y son considerados como consonantes, esto se hace analizando en díadas las combinaciones posibles y los intervalos resultantes. Por ''relación diádica justa'' se entiende un acorde en la entonación racional, de manera que cada una de sus notas en relación con la nota más baja es un número racional que pertenece al conjunto de las consonancias y además, cada intervalo entre las notas pertenece al conjunto de consonancias. Por ''&lt;span style="font-family: Arial,sans-serif;"&gt;relación esencialmente justa &lt;/span&gt;''se entiende un acorde que se considera una aproximación de un acorde justo diádico, de manera que cada uno de sus intervalos se considera que es una aproximación del intervalo correspondiente en la relación justa. Así, por ejemplo,&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt; 1, 5/4 y 3/2&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt; forma un acorde justo con relaciones diádicas cuando la consonancia establecida entra en el diamante límite 5 con equivalencia de octava, las díadas posibles son 1 y 5/4, 5/4 y 3/2, 1 y 3/2. por ejemplo el acorde 0-10-18 en 31ED2 con el conjunto de consonancias {8, 10, 13 , 18, 21, 23, 31} módulo 31, es un acorde con ''relación esencialmente justa'' de 1, 5/4, 3/2 y sus díadas posibles son, 0 y 10, 10 y 18, 0 y 18.&lt;/span&gt;

Algunos ejemplos de Tétradas en la Entonación Justa:

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;tétradas [[seven_limit_tetrads|límite 7]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 13.3333px;"&gt;tétradas &lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[nine_limit_tetrads|límite 9]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 13.3333px;"&gt;tétradas &lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[1-3-7-11_tetrads|1-3-7-11]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 13.3333px;"&gt;tétradas &lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[thirteen_limit_tetrads|límite 13]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 13.3333px;"&gt;tétradas &lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[fifteen_limit_tetrads|límite 15 ]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 13.3333px;"&gt;tétradas &lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[seventeen_limit_tetrads|límite 17]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Por ''&lt;span style="font-family: Arial,sans-serif;"&gt;relación diádica esencialmente temperada&lt;/span&gt;'' se entiende un acorde definido en dentro un temperamento regular abstracto, de tal manera que cada intervalo pertenece a un conjunto de consonancias, pero no hay un acorde correspondiente una relación diádica justa. Esto significa que cada intervalo, cuando es asignado por el temperamento regular abstracto, pertenece a la consonancia establecida. Por ejemplo, el acorde 1, 6/5, 10/7, cuando está mapeada al temperamento Starling, que templa el comma 126/125, tiene cada uno de sus intervalos en el conjunto de consonancias límite 7 que es el temperamento del diamante límite 7 por 126/125. Sin embargo, (10/7)/(6/5) = 25/21 es límite 25, y no hay otro acorde límite 7 con relación diádica justa que pueda expresar el resultado, por lo que se analiza como una relación diádica esencialmente temperada. Las relaciones diádicas esencialmente temperadas son una noción relacionada con los [[comma_pump|bombas de coma]]&lt;/span&gt;(&lt;span style="color: #ff0000;"&gt;TERMINO A CONSIDERAR&lt;/span&gt;)&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;, y se pueden utilizar como base para la creación de bombas. El uso de acordes esencialmente templados en progresiones y enlaces rompe la armonía de las relaciones exclusivamente justas y sirve como una especie de lubricante armónico al impartir fluidez y dinamismo a la armonía, a costa de difuminar el sentido de la tonalidad con frecuencia.&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Kite Giedraitis ha propuesto el término "acorde comático innato" para describir el tipo de acorde que no pueda asignarse a la entonación justa en un límite primo e impar, por tanto, un acorde que no va a "anillarse". Este término es más amplio que el término "acorde esencialmente temperado", ya que incluye la posibilidad de que la cuerda no se vea atenuada en absoluto, y contiene un intervalo de lobo. Por ejemplo, la tríada aumentada límite 5 es un acorde comático innato, porque es imposible entonar las tres principales IIIas a 5/4. La coma innata aquí es 128/125 = 41 ¢. En la práctica, podría ser cantado o tocado de manera justa, pero con un gran límite impar y por lo tanto un intervalo de lobo, como 1/1, 5/4, 25/16 ó 1/1, 5/4, 8/5. O podría ser temperada, por ejemplo, en 12-edo como 0cents, 400cents, 800cents y 1.200cents. En entonación justa límite 5, una de las 3as se puede sintonizar a 9/7. La coma innata se reduce a 225/224, sólo 8 ¢. Esta coma puede ser distribuida entre las tres IIIas, resultando en el tempemperamento de cada una sólo unos cents, que pueden ser lo suficientemente cercanos como para ser aceptables. En el límite 11, este acorde no es un acorde comático innato, ya que puede ser sintonizado justamente como 7:9:11, un límite lo suficientemente bajo para "anillarlo". Sin embargo, es cuestionable que éste acorde califique como una tríada aumentada, debido a que la IIIra superior casi no suena mayor.&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;7-limit&lt;/span&gt;==
Acordes del temperamento &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[starling_chords|starling]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[hendrix_chord|Acorde Hendrix]]&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;9-limit&lt;/span&gt;==
&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[Meantone_add6-9_pentad|Pentada mesotónica add6-9]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[marvel_chords|Acordes marvel]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[sensamagic_chords|Acordes sensamagic ]]&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;11-limit&lt;/span&gt;==
Triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[mothwellsmic_triad|mothwellsmic]]&lt;/span&gt;

triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[ptolemismic_triad|ptolemismic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[valinorsmic_chords|valinorsmic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[rastmic_chords|rastmic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[keenanismic_chords|keenanismic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[pentacircle_chords|pentacircle]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[werckismic_chords|werckismic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[swetismic_chords|swetismic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[undecimal_marvel_chords|undecimales marvel]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[jove_chords|jove]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[prodigy_chords|prodigy]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[miracle_chords|miracle]]&lt;/span&gt;

acorde de séptima&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[magical_seventh_chord|magical]]&lt;/span&gt;

tétrada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[orwell_tetrad|orwell]]&lt;/span&gt;

hexada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[tutonic_sextad|tutonic]]&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;13-limit&lt;/span&gt;==
Triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[ratwolf_triad|ratwolf]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[gentle_chords|gentle]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[minthmic_chords|minthmic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[huntmic_chords|huntmic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[kestrel_chords|kestrel]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[mynucumic_chords|mynucumic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[squbemic_chords|squbemic]]&lt;/span&gt;

tétrada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[sinbadmic_tetrad|sinbadmic]]&lt;/span&gt;

triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[marveltwin_triad|marveltwin]]&lt;/span&gt;

triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[petrmic_triad|petrmic]]&lt;/span&gt;

triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[cuthbert_triad|cuthbert]]&lt;/span&gt;

hexada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[hecate_hexad|hecate ]]&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;15-limit&lt;/span&gt;==
Tétrada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[orwell_tetrad|guanyin]]&lt;/span&gt;

Tétrada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[island_tetrad|island]]&lt;/span&gt;

Tétrada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[nicolic_tetrad|nicolic]]&lt;/span&gt;

acorde &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[battaglia_chord|battaglia]]&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;19-limit&lt;/span&gt;==
Acorde &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[hendrix_chord|hendrix]]&lt;/span&gt;

triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[rootminor_triad|rootminor]]&lt;/span&gt;

triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[rootsubminor_triad|rootsubminor ]]&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;21-limit&lt;/span&gt;==
Pentada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[slendric_pentad|slendric ]]&lt;/span&gt;

=&lt;span style="font-family: Arial,sans-serif; font-size: 17pt;"&gt;Anómalas Suspensiones Saturadas &lt;/span&gt;=
&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Una ''&lt;span style="font-family: Arial,sans-serif;"&gt;anómala suspensión saturada&lt;/span&gt;'', o ASS, es un término&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt; introducido&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt; por [[Graham_Breed|Graham Breed]] para una acorde justo de límite ''n'', a la que ninguna clase de tono límite ''n'' puede ser añadido mientras se mantiene en el límite ''n'', y que no es ni un Otonal o un acorde Utonal; es decir, que no está contenido como un sub-acorde ya por 1:3:5 … :''n'' ó 1:1/3:1/5: ... :1''/n'' acorde. La existencia de este tipo de acordes fue [http://www.webcitation.org/60VCUHe6d descubierto] por [[Paul_Erlich|Paul Erlich]] . A continuación se enumeran dos ASS Límite 9 de especial interés, ya que evitan los intervalos más pequeños que un tono entero menor.&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[just_added_sixth_chord|Acorde de Sexta Justa A]]&lt;/span&gt;ñ&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[just_added_sixth_chord|adida]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Es un acorde límite 5, límite 9, de entonación justa que es un "ASS", o&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt; anómala suspensión saturada&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt; . En posición de cierre, es de 1, 5/4, 3/2 y 5/3, con los pasos de 5/4, 6/5, 10/9 y 6/5, respectivamente. Otra disposición es 1, 6/5, 3/2 y 9/5, en cuya forma se le puede llamar un acorde justo de séptima menor.&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[swiss_tetrad|Tétrada Suiza]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;La ''&lt;span style="font-family: Arial,sans-serif;"&gt;tétrada suiza&lt;/span&gt;'' es un acorde límite 7, límite 9, que es un ASS. En posición de cierre, es de 1, 7/6, 3/2 y 7/4, con los pasos 7/6, 9/7, 7/6, 8/7. Versiones templadas de que han sido llamadas "acordes de séptima submenor" o "acorde de sexta suiza", por lo que "tétrada suiza" divide la diferencia.&lt;/span&gt;

= =</text>
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    <revision>
      <id>209</id>
      <parentid>208</parentid>
      <timestamp>2018-10-01T18:57:42Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
      <origin>209</origin>
      <model>wikitext</model>
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      <text bytes="13108" sha1="h161m0yxt5s5xbeol5nr2zqhxg78b2o" xml:space="preserve">&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Por ''&lt;span style="font-family: Arial,sans-serif;"&gt;relación diádica&lt;/span&gt;'' se entienden las relaciones existentes entre notas de un acorde en el que cada uno de los intervalos pertenece a un conjunto específico y son considerados como consonantes, esto se hace analizando en díadas las combinaciones posibles y los intervalos resultantes. Por ''relación diádica justa'' se entiende un acorde en la entonación racional, de manera que cada una de sus notas en relación con la nota más baja es un número racional que pertenece al conjunto de las consonancias y además, cada intervalo entre las notas pertenece al conjunto de consonancias. Por ''&lt;span style="font-family: Arial,sans-serif;"&gt;relación esencialmente justa &lt;/span&gt;''se entiende un acorde que se considera una aproximación de un acorde justo diádico, de manera que cada uno de sus intervalos se considera que es una aproximación del intervalo correspondiente en la relación justa. Así, por ejemplo,&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt; 1, 5/4 y 3/2&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt; forma un acorde justo con relaciones diádicas cuando la consonancia establecida entra en el diamante límite 5 con equivalencia de octava, las díadas posibles son 1 y 5/4, 5/4 y 3/2, 1 y 3/2. por ejemplo el acorde 0-10-18 en 31ED2 con el conjunto de consonancias {8, 10, 13 , 18, 21, 23, 31} módulo 31, es un acorde con ''relación esencialmente justa'' de 1, 5/4, 3/2 y sus díadas posibles son, 0 y 10, 10 y 18, 0 y 18.&lt;/span&gt;

Algunos ejemplos de Tétradas en la Entonación Justa:

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;tétradas [[seven_limit_tetrads|límite 7]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 13.3333px;"&gt;tétradas &lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[nine_limit_tetrads|límite 9]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 13.3333px;"&gt;tétradas &lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[1-3-7-11_tetrads|1-3-7-11]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 13.3333px;"&gt;tétradas &lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[thirteen_limit_tetrads|límite 13]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 13.3333px;"&gt;tétradas &lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[fifteen_limit_tetrads|límite 15 ]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 13.3333px;"&gt;tétradas &lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[seventeen_limit_tetrads|límite 17]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Por ''&lt;span style="font-family: Arial,sans-serif;"&gt;relación diádica esencialmente temperada&lt;/span&gt;'' se entiende un acorde definido en dentro un temperamento regular abstracto, de tal manera que cada intervalo pertenece a un conjunto de consonancias, pero no hay un acorde correspondiente una relación diádica justa. Esto significa que cada intervalo, cuando es asignado por el temperamento regular abstracto, pertenece a la consonancia establecida. Por ejemplo, el acorde 1, 6/5, 10/7, cuando está mapeada al temperamento Starling, que templa el comma 126/125, tiene cada uno de sus intervalos en el conjunto de consonancias límite 7 que es el temperamento del diamante límite 7 por 126/125. Sin embargo, (10/7)/(6/5) = 25/21 es límite 25, y no hay otro acorde límite 7 con relación diádica justa que pueda expresar el resultado, por lo que se analiza como una relación diádica esencialmente temperada. Las relaciones diádicas esencialmente temperadas son una noción relacionada con los [[comma_pump|bombas de coma]]&lt;/span&gt;(&lt;span style="color: #ff0000;"&gt;TERMINO A CONSIDERAR&lt;/span&gt;)&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;, y se pueden utilizar como base para la creación de bombas. El uso de acordes esencialmente templados en progresiones y enlaces rompe la armonía de las relaciones exclusivamente justas y sirve como una especie de lubricante armónico al impartir fluidez y dinamismo a la armonía, a costa de difuminar el sentido de la tonalidad con frecuencia.&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Kite Giedraitis ha propuesto el término "acorde comático innato" para describir el tipo de acorde que no pueda asignarse a la entonación justa en un límite primo e impar, por tanto, un acorde que no va a "anillarse". Este término es más amplio que el término "acorde esencialmente temperado", ya que incluye la posibilidad de que la cuerda no se vea atenuada en absoluto, y contiene un intervalo de lobo. Por ejemplo, la tríada aumentada límite 5 es un acorde comático innato, porque es imposible entonar las tres principales IIIas a 5/4. La coma innata aquí es 128/125 = 41 ¢. En la práctica, podría ser cantado o tocado de manera justa, pero con un gran límite impar y por lo tanto un intervalo de lobo, como 1/1, 5/4, 25/16 ó 1/1, 5/4, 8/5. O podría ser temperada, por ejemplo, en 12-edo como 0cents, 400cents, 800cents y 1.200cents. En entonación justa límite 5, una de las 3as se puede sintonizar a 9/7. La coma innata se reduce a 225/224, sólo 8 ¢. Esta coma puede ser distribuida entre las tres IIIas, resultando en el tempemperamento de cada una sólo unos cents, que pueden ser lo suficientemente cercanos como para ser aceptables. En el límite 11, este acorde no es un acorde comático innato, ya que puede ser sintonizado justamente como 7:9:11, un límite lo suficientemente bajo para "anillarlo". Sin embargo, es cuestionable que éste acorde califique como una tríada aumentada, debido a que la IIIra superior casi no suena mayor.&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;7-limit&lt;/span&gt;==
Acordes del temperamento &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[starling_chords|starling]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[hendrix_chord|Acorde Hendrix]]&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;9-limit&lt;/span&gt;==
&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[Meantone_add6-9_pentad|Pentada mesotónica add6-9]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[marvel_chords|Acordes marvel]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[sensamagic_chords|Acordes sensamagic ]]&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;11-limit&lt;/span&gt;==
Triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[mothwellsmic_triad|mothwellsmic]]&lt;/span&gt;

triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[ptolemismic_triad|ptolemismic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[valinorsmic_chords|valinorsmic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[rastmic_chords|rastmic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[keenanismic_chords|keenanismic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[pentacircle_chords|pentacircle]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[werckismic_chords|werckismic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[swetismic_chords|swetismic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[undecimal_marvel_chords|undecimales marvel]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[jove_chords|jove]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[prodigy_chords|prodigy]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[miracle_chords|miracle]]&lt;/span&gt;

acorde de séptima&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[magical_seventh_chord|magical]]&lt;/span&gt;

tétrada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[orwell_tetrad|orwell]]&lt;/span&gt;

hexada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[tutonic_sextad|tutonic]]&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;13-limit&lt;/span&gt;==
Triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[ratwolf_triad|ratwolf]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[gentle_chords|gentle]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[minthmic_chords|minthmic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[huntmic_chords|huntmic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[kestrel_chords|kestrel]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[mynucumic_chords|mynucumic]]&lt;/span&gt;

acordes &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[squbemic_chords|squbemic]]&lt;/span&gt;

tétrada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[sinbadmic_tetrad|sinbadmic]]&lt;/span&gt;

triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[marveltwin_triad|marveltwin]]&lt;/span&gt;

triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[petrmic_triad|petrmic]]&lt;/span&gt;

triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[cuthbert_triad|cuthbert]]&lt;/span&gt;

hexada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[hecate_hexad|hecate ]]&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;15-limit&lt;/span&gt;==
Tétrada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[orwell_tetrad|guanyin]]&lt;/span&gt;

Tétrada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[island_tetrad|island]]&lt;/span&gt;

Tétrada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[nicolic_tetrad|nicolic]]&lt;/span&gt;

acorde &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[battaglia_chord|battaglia]]&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;19-limit&lt;/span&gt;==
Acorde &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[hendrix_chord|hendrix]]&lt;/span&gt;

triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[rootminor_triad|rootminor]]&lt;/span&gt;

triada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[rootsubminor_triad|rootsubminor ]]&lt;/span&gt;

==&lt;span style="font-family: Arial,sans-serif; font-size: 15.5pt;"&gt;21-limit&lt;/span&gt;==
Pentada &lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[slendric_pentad|slendric ]]&lt;/span&gt;

=&lt;span style="font-family: Arial,sans-serif; font-size: 17pt;"&gt;Anómalas Suspensiones Saturadas &lt;/span&gt;=
&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Una ''&lt;span style="font-family: Arial,sans-serif;"&gt;anómala suspensión saturada&lt;/span&gt;'', o ASS, es un término&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt; introducido&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt; por [[Graham_Breed|Graham Breed]] para una acorde justo de límite ''n'', a la que ninguna clase de tono límite ''n'' puede ser añadido mientras se mantiene en el límite ''n'', y que no es ni un Otonal o un acorde Utonal; es decir, que no está contenido como un sub-acorde ya por 1:3:5 … :''n'' ó 1:1/3:1/5: ... :1''/n'' acorde. La existencia de este tipo de acordes fue [http://www.webcitation.org/60VCUHe6d descubierto] por [[Paul_Erlich|Paul Erlich]] . A continuación se enumeran dos ASS Límite 9 de especial interés, ya que evitan los intervalos más pequeños que un tono entero menor.&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[just_added_sixth_chord|Acorde de Sexta Justa A]]&lt;/span&gt;ñ&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[just_added_sixth_chord|adida]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;Es un acorde límite 5, límite 9, de entonación justa que es un "ASS", o&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt; anómala suspensión saturada&lt;/span&gt;&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt; . En posición de cierre, es de 1, 5/4, 3/2 y 5/3, con los pasos de 5/4, 6/5, 10/9 y 6/5, respectivamente. Otra disposición es 1, 6/5, 3/2 y 9/5, en cuya forma se le puede llamar un acorde justo de séptima menor.&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;[[swiss_tetrad|Tétrada Suiza]]&lt;/span&gt;

&lt;span style="font-family: Arial,sans-serif; font-size: 10pt;"&gt;La ''&lt;span style="font-family: Arial,sans-serif;"&gt;tétrada suiza&lt;/span&gt;'' es un acorde límite 7, límite 9, que es un ASS. En posición de cierre, es de 1, 7/6, 3/2 y 7/4, con los pasos 7/6, 9/7, 7/6, 8/7. Versiones templadas de que han sido llamadas "acordes de séptima submenor" o "acorde de sexta suiza", por lo que "tétrada suiza" divide la diferencia.&lt;/span&gt;

= =</text>
      <sha1>h161m0yxt5s5xbeol5nr2zqhxg78b2o</sha1>
    </revision>
  </page>
  <page>
    <title>Teoría Básica</title>
    <ns>0</ns>
    <id>61</id>
    <revision>
      <id>210</id>
      <timestamp>2018-09-20T00:58:54Z</timestamp>
      <contributor>
        <username>ImportFromEn&gt;Spt3125</username>
        <id>0</id>
      </contributor>
      <minor/>
      <origin>210</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="7151" sha1="4od0tsiqvo9xb9m9lagxep27yg29579" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[General_Theory|English]]&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Lo Esencial&lt;/span&gt;=
&lt;span style="background-color: #ffffff;"&gt;[[Radio|Radio]]&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Centésimas|Cents]]&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Acordes|Acordes]]&lt;/span&gt;

[[ScaleIndex|Escalas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Notation|Notación]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Badness|Maldad]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Conceptos Centrales&lt;/span&gt;=
&lt;span style="background-color: #ffffff;"&gt;[[Entonación_Justa|Entonación Justa]] &lt;/span&gt;

[[Regular_Temperaments|Temperamentos regulares]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Equal_Temperaments|Temperamentos Equitativos]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[periods_and_generators|Períodos y Generadores]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[EDO|EDO]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[edt|EDT]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[MOSScales|Escalas MOS]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Periodic_scale|Escala Periódica]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[EDL|EDL (equitativas divisiones de longitud)]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[AID|Divisiones Aritméticas Irracionales]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[ADO|ADO (]][[ADO|divisiones]] [[ADO|aritméticas racionales)]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[comma_pump|Coma Pump]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Cómo Funciona&lt;/span&gt;=
&lt;span style="background-color: #ffffff;"&gt;[[Monzo(Esp)|Monzo]]&lt;/span&gt;

[[Vals|Val]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Mappings|Mapeo]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Patent_val|Val Patente]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[tempering_out|Templando en la Práctica]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Rank_and_codimension|Rango y Codimensión]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Explicaciones Personales&lt;/span&gt;=
[[Mike's_Lectures_On_Regular_Temperament_Theory|Mike's Lectures On Regular Temperament Theory]]

[[Keenan's_explanation_of_vals|Keenan's explanation of vals]]

=&lt;span style="background-color: #ffffff;"&gt;herramientas de Javascript&lt;/span&gt;=
[[Interval_calculator|Interval calculator--a nice online interval calculator tool, shows linear fraction and EDO fraction expansions, too]]

&lt;span style="background-color: #ffffff;"&gt;[http://www.untwelve.org/javascript_demos/sb_tree.html?start=0,1,1,0 An animated Stern-Brocot tree, courtesy untwelve.org]&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[http://www.untwelve.org/javascript_demos/MOSring.html An animated Javascript Moment of Symmetry (MOS) ring demo, another untwelve.org creation]&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[http://www.toverlamp.org/static/wickisynth/wickisynth.html An excellent Firefox browser tuning demo synthesizer, 'Wicksynth']&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Material adicional&lt;/span&gt;=
[[Benedetti_height|Benedetti height]]

[[Kees_Height|Kees height]]

[[Tenney_Height|Tenney Height]]

[[ABC,_High_Quality_Commas,_and_Epimericity|ABC, High Quality Commas, and Epimericity]]

[[Graham_complexity|Graham complexity]]

[[Generator_complexity|Generator complexity]]

[[Lumma_stability|Lumma stability]]

[[chord_of_nature|chord of nature]]

[[Modal_UDP_Notation|Modal UDP Notation]]

[[Cluster_temperament|Cluster temperament]]

[[Consonant_class_scale|Consonant Class Scale]]

[[Maximum_variety|Maximum variety]]

[[Distributional_Evenness|Distributional Evenness]]

[[Essential_tempering_commas|Essential tempering commas]]

=&lt;span style="background-color: #ffffff;"&gt;Teoría avanzada&lt;/span&gt;=
[[Mathematical_Theory|Teoría matemática]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;</text>
      <sha1>4od0tsiqvo9xb9m9lagxep27yg29579</sha1>
    </revision>
    <revision>
      <id>211</id>
      <parentid>210</parentid>
      <timestamp>2018-10-01T18:57:42Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
      <origin>211</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="7151" sha1="4od0tsiqvo9xb9m9lagxep27yg29579" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;[[General_Theory|English]]&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Lo Esencial&lt;/span&gt;=
&lt;span style="background-color: #ffffff;"&gt;[[Radio|Radio]]&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Centésimas|Cents]]&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Acordes|Acordes]]&lt;/span&gt;

[[ScaleIndex|Escalas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Notation|Notación]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Badness|Maldad]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Conceptos Centrales&lt;/span&gt;=
&lt;span style="background-color: #ffffff;"&gt;[[Entonación_Justa|Entonación Justa]] &lt;/span&gt;

[[Regular_Temperaments|Temperamentos regulares]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Equal_Temperaments|Temperamentos Equitativos]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[periods_and_generators|Períodos y Generadores]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[EDO|EDO]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[edt|EDT]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[MOSScales|Escalas MOS]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Periodic_scale|Escala Periódica]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[EDL|EDL (equitativas divisiones de longitud)]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[AID|Divisiones Aritméticas Irracionales]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[ADO|ADO (]][[ADO|divisiones]] [[ADO|aritméticas racionales)]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[comma_pump|Coma Pump]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Cómo Funciona&lt;/span&gt;=
&lt;span style="background-color: #ffffff;"&gt;[[Monzo(Esp)|Monzo]]&lt;/span&gt;

[[Vals|Val]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Mappings|Mapeo]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Patent_val|Val Patente]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[tempering_out|Templando en la Práctica]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Rank_and_codimension|Rango y Codimensión]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Explicaciones Personales&lt;/span&gt;=
[[Mike's_Lectures_On_Regular_Temperament_Theory|Mike's Lectures On Regular Temperament Theory]]

[[Keenan's_explanation_of_vals|Keenan's explanation of vals]]

=&lt;span style="background-color: #ffffff;"&gt;herramientas de Javascript&lt;/span&gt;=
[[Interval_calculator|Interval calculator--a nice online interval calculator tool, shows linear fraction and EDO fraction expansions, too]]

&lt;span style="background-color: #ffffff;"&gt;[http://www.untwelve.org/javascript_demos/sb_tree.html?start=0,1,1,0 An animated Stern-Brocot tree, courtesy untwelve.org]&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[http://www.untwelve.org/javascript_demos/MOSring.html An animated Javascript Moment of Symmetry (MOS) ring demo, another untwelve.org creation]&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[http://www.toverlamp.org/static/wickisynth/wickisynth.html An excellent Firefox browser tuning demo synthesizer, 'Wicksynth']&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Material adicional&lt;/span&gt;=
[[Benedetti_height|Benedetti height]]

[[Kees_Height|Kees height]]

[[Tenney_Height|Tenney Height]]

[[ABC,_High_Quality_Commas,_and_Epimericity|ABC, High Quality Commas, and Epimericity]]

[[Graham_complexity|Graham complexity]]

[[Generator_complexity|Generator complexity]]

[[Lumma_stability|Lumma stability]]

[[chord_of_nature|chord of nature]]

[[Modal_UDP_Notation|Modal UDP Notation]]

[[Cluster_temperament|Cluster temperament]]

[[Consonant_class_scale|Consonant Class Scale]]

[[Maximum_variety|Maximum variety]]

[[Distributional_Evenness|Distributional Evenness]]

[[Essential_tempering_commas|Essential tempering commas]]

=&lt;span style="background-color: #ffffff;"&gt;Teoría avanzada&lt;/span&gt;=
[[Mathematical_Theory|Teoría matemática]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;</text>
      <sha1>4od0tsiqvo9xb9m9lagxep27yg29579</sha1>
    </revision>
  </page>
  <page>
    <title>Teoría Profunda</title>
    <ns>0</ns>
    <id>62</id>
    <revision>
      <id>212</id>
      <timestamp>2018-07-17T00:00:00Z</timestamp>
      <contributor>
        <username>Wikispaces&gt;FREEZE</username>
        <id>0</id>
      </contributor>
      <origin>212</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="14481" sha1="a4svvqnk3v2qznfrs9g75jvbya80xs4" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;&lt;span style="background-color: #ffffff;"&gt;[[Mathematical_Theory|English]]&lt;/span&gt;

&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Fundamentos de las Escalas&lt;/span&gt;=
[[Periodic_scale|Escala Periódica]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Mathematics_of_MOS|Escalas MOS]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Mathematics_of_MOS|Matemáticas de las MOS]] &lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[MODMOS_Scales|Escalas MODMOS]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Graph-theoretic_properties_of_scales|Propiedades Gráfico-teóricas de las Escalas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Temperamentos Regulares&lt;/span&gt;=
'''&lt;span style="background-color: #ffffff;"&gt;Conceptos básicos: &lt;/span&gt;'''

[[Monzos_and_Interval_Space|Monzos y Espacio Interválico]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Vals_and_Tuning_Space|Vals y Espacio Temperamental]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Regular_Temperaments|Temperamentos Regulares]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Saturation|Saturación]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[dual_list|Lista Dual]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Meet_and_Join|Donde se encuentran y se unen]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

'''&lt;span style="background-color: #ffffff;"&gt;Álgebra lineal: &lt;/span&gt;'''

[[Temperament_Mapping_Matrices_(M-maps)|Matrices de Mapeo de Temperamentos (M-maps)]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Tmonzos_and_Tvals|Tmonzos y Tvals]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Subgroup_Mapping_Matrices_(V-maps)|Matrices de Mapeo de Subgrupos (V-maps)]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Smonzos_and_Svals|Smonzos y Svals]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Generalized_Tenney_Norms_and_Tp_Interval_Space|Normas de Tenney y Espacio Interválico Tp Generalizadas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Generalized_Tenney_Dual_Norms_and_Tp_Tuning_Space|Normas duales de Tenney y Espacio Temperamental Tp]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

'''&lt;span style="background-color: #ffffff;"&gt;Álgebra Externa: &lt;/span&gt;'''

[[Wedgies_and_Multivals|Wedgies y Multivals]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[The_wedgie|El wedgie]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Recoverability|Recuperabilidad]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[The_dual|La Dual]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Interior_product|Producto Interior]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

'''&lt;span style="background-color: #ffffff;"&gt;Álgebra Abstracta: &lt;/span&gt;'''

[[Groups,_Lattices,_Z-modules,_and_Vector_Spaces|Grupos, Entramados, Z-módulos y Espacios Vectoriales]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

'''&lt;span style="background-color: #ffffff;"&gt;Representación Temperamental: &lt;/span&gt;'''

[[Abstract_regular_temperament|Temperamento Regular Abstracto]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Normal_lists|Listas Normales]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Gencom|Gencom]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

'''&lt;span style="background-color: #ffffff;"&gt;Otros: &lt;/span&gt;'''

[[Planar_Temperament|Temperamento Planar]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Transversal_generators|Generadores Transversales]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

==&lt;span style="background-color: #ffffff;"&gt;Medidas y Optimización Temperamental&lt;/span&gt;==
[[Target_tunings|Afinaciones "Objetivo"]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[TOP_tuning|Afinación TOP]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Tp_tuning|Afinación Tp]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Tenney-Euclidean_Tuning|Afinación de Tenney-Euclides]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Tenney-Euclidean_temperament_measures|Medidas Temperamentales de Tenney-Euclides]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Tenney-Euclidean_metrics|Métricas Tenney-Euclidianas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Cangwu_badness|Maldad Cangwu]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Fractional_monzos|Monzos Fraccionales]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Generator_complexity|Complejidad del Generador]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

==&lt;span style="background-color: #ffffff;"&gt;Entramados y Escalas&lt;/span&gt;==
[[Transversal|Transversal]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Fokker_blocks|Bloques de Fokker]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Weak_Fokker_blocks|Bloques Débiles de Fokker]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Minkowski_reduced_bases_for_Fokker_groups_of_certain_vals|Bases Reducidas de Minkowski para Grupos de Fokker de Ciertos Vals]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Minkowski_blocks|Bloques de Minkowski]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[The_Seven_Limit_Symmetrical_Lattices|Entramados Simétricos del Límite 7]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Tablets|Tabletas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Hahn_distance|Distancia de Hahn]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Comma-based_lattices|Entramados Basados en Comas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

==&lt;span style="background-color: #ffffff;"&gt;Otros&lt;/span&gt;==
[[The_Riemann_Zeta_Function_and_Tuning|La Función Zeta de Riemann y la Entonación]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Modulatory_space|Espacio Modulatorio]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Chordal_space|Espacio Acórdico]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[k*N_subgroups|Subgrupos de k*N]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Logarithmic_approximants|Aproximantes Logarítmicas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Don_Page_comma|Coma "Don Page"]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[ABC,_High_Quality_Commas,_and_Epimericity|ABC, Comas de Alta Calidad y Epimericidad]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;</text>
      <sha1>a4svvqnk3v2qznfrs9g75jvbya80xs4</sha1>
    </revision>
    <revision>
      <id>213</id>
      <parentid>212</parentid>
      <timestamp>2018-10-01T18:57:42Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada: Imported Spanish pages from En</comment>
      <origin>213</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="14481" sha1="a4svvqnk3v2qznfrs9g75jvbya80xs4" xml:space="preserve">&lt;span style="display: block; text-align: right;"&gt;&lt;span style="background-color: #ffffff;"&gt;[[Mathematical_Theory|English]]&lt;/span&gt;

&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Fundamentos de las Escalas&lt;/span&gt;=
[[Periodic_scale|Escala Periódica]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Mathematics_of_MOS|Escalas MOS]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

&lt;span style="background-color: #ffffff;"&gt;[[Mathematics_of_MOS|Matemáticas de las MOS]] &lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[MODMOS_Scales|Escalas MODMOS]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Graph-theoretic_properties_of_scales|Propiedades Gráfico-teóricas de las Escalas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

=&lt;span style="background-color: #ffffff;"&gt;Temperamentos Regulares&lt;/span&gt;=
'''&lt;span style="background-color: #ffffff;"&gt;Conceptos básicos: &lt;/span&gt;'''

[[Monzos_and_Interval_Space|Monzos y Espacio Interválico]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Vals_and_Tuning_Space|Vals y Espacio Temperamental]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Regular_Temperaments|Temperamentos Regulares]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Saturation|Saturación]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[dual_list|Lista Dual]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Meet_and_Join|Donde se encuentran y se unen]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

'''&lt;span style="background-color: #ffffff;"&gt;Álgebra lineal: &lt;/span&gt;'''

[[Temperament_Mapping_Matrices_(M-maps)|Matrices de Mapeo de Temperamentos (M-maps)]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Tmonzos_and_Tvals|Tmonzos y Tvals]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Subgroup_Mapping_Matrices_(V-maps)|Matrices de Mapeo de Subgrupos (V-maps)]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Smonzos_and_Svals|Smonzos y Svals]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Generalized_Tenney_Norms_and_Tp_Interval_Space|Normas de Tenney y Espacio Interválico Tp Generalizadas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Generalized_Tenney_Dual_Norms_and_Tp_Tuning_Space|Normas duales de Tenney y Espacio Temperamental Tp]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

'''&lt;span style="background-color: #ffffff;"&gt;Álgebra Externa: &lt;/span&gt;'''

[[Wedgies_and_Multivals|Wedgies y Multivals]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[The_wedgie|El wedgie]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Recoverability|Recuperabilidad]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[The_dual|La Dual]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Interior_product|Producto Interior]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

'''&lt;span style="background-color: #ffffff;"&gt;Álgebra Abstracta: &lt;/span&gt;'''

[[Groups,_Lattices,_Z-modules,_and_Vector_Spaces|Grupos, Entramados, Z-módulos y Espacios Vectoriales]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

'''&lt;span style="background-color: #ffffff;"&gt;Representación Temperamental: &lt;/span&gt;'''

[[Abstract_regular_temperament|Temperamento Regular Abstracto]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Normal_lists|Listas Normales]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Gencom|Gencom]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

'''&lt;span style="background-color: #ffffff;"&gt;Otros: &lt;/span&gt;'''

[[Planar_Temperament|Temperamento Planar]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Transversal_generators|Generadores Transversales]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

==&lt;span style="background-color: #ffffff;"&gt;Medidas y Optimización Temperamental&lt;/span&gt;==
[[Target_tunings|Afinaciones "Objetivo"]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[TOP_tuning|Afinación TOP]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Tp_tuning|Afinación Tp]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Tenney-Euclidean_Tuning|Afinación de Tenney-Euclides]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Tenney-Euclidean_temperament_measures|Medidas Temperamentales de Tenney-Euclides]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Tenney-Euclidean_metrics|Métricas Tenney-Euclidianas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Cangwu_badness|Maldad Cangwu]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Fractional_monzos|Monzos Fraccionales]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Generator_complexity|Complejidad del Generador]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

==&lt;span style="background-color: #ffffff;"&gt;Entramados y Escalas&lt;/span&gt;==
[[Transversal|Transversal]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Fokker_blocks|Bloques de Fokker]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Weak_Fokker_blocks|Bloques Débiles de Fokker]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Minkowski_reduced_bases_for_Fokker_groups_of_certain_vals|Bases Reducidas de Minkowski para Grupos de Fokker de Ciertos Vals]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Minkowski_blocks|Bloques de Minkowski]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[The_Seven_Limit_Symmetrical_Lattices|Entramados Simétricos del Límite 7]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Tablets|Tabletas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Hahn_distance|Distancia de Hahn]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Comma-based_lattices|Entramados Basados en Comas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

==&lt;span style="background-color: #ffffff;"&gt;Otros&lt;/span&gt;==
[[The_Riemann_Zeta_Function_and_Tuning|La Función Zeta de Riemann y la Entonación]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Modulatory_space|Espacio Modulatorio]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Chordal_space|Espacio Acórdico]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[k*N_subgroups|Subgrupos de k*N]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Logarithmic_approximants|Aproximantes Logarítmicas]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[Don_Page_comma|Coma "Don Page"]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;

[[ABC,_High_Quality_Commas,_and_Epimericity|ABC, Comas de Alta Calidad y Epimericidad]] &lt;span style="background-color: #ffffff;"&gt;(&lt;/span&gt;&lt;span style="background-color: #ffffff; color: #e30019;"&gt;INGLÉS FALTA CREAR PÁGINA EN ESPAÑOL&lt;/span&gt;&lt;span style="background-color: #ffffff;"&gt;)&lt;/span&gt;</text>
      <sha1>a4svvqnk3v2qznfrs9g75jvbya80xs4</sha1>
    </revision>
  </page>
  <page>
    <title>Usuario:PG's sock that dumps pages here</title>
    <ns>2</ns>
    <id>63</id>
    <revision>
      <id>216</id>
      <timestamp>2018-10-02T05:47:40Z</timestamp>
      <contributor>
        <username>PG's sock that dumps pages here</username>
        <id>5</id>
      </contributor>
      <comment>Página creada con «I don't speak Spanish!»</comment>
      <origin>216</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="22" sha1="2hw9v15a5swhmekrk96rbq2lm8mkrcf" xml:space="preserve">I don't speak Spanish!</text>
      <sha1>2hw9v15a5swhmekrk96rbq2lm8mkrcf</sha1>
    </revision>
  </page>
  <page>
    <title>Usuario:Xenwolf</title>
    <ns>2</ns>
    <id>64</id>
    <revision>
      <id>217</id>
      <timestamp>2018-10-02T15:21:51Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>hello world + project description</comment>
      <origin>217</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="174" sha1="0voj3tjk3v6lstuxf0wilwrdfuasx46" xml:space="preserve">No hablo español, intento ayudar con la traducción automática del wiki.

¡Por favor, deténganme si hago algo mal!

&lt;!-- interwiki links --&gt;
[[de:Xenwolf]]
[[en:Xenwolf]]</text>
      <sha1>0voj3tjk3v6lstuxf0wilwrdfuasx46</sha1>
    </revision>
    <revision>
      <id>219</id>
      <parentid>217</parentid>
      <timestamp>2018-10-02T15:26:53Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>fixed interwiki links</comment>
      <origin>219</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="184" sha1="rtfzg2r60mr1k9eea2mfn1jbokudayh" xml:space="preserve">No hablo español, intento ayudar con la traducción automática del wiki.

¡Por favor, deténganme si hago algo mal!

&lt;!-- interwiki links --&gt;
[[de:User:Xenwolf]]
[[en:User:Xenwolf]]</text>
      <sha1>rtfzg2r60mr1k9eea2mfn1jbokudayh</sha1>
    </revision>
    <revision>
      <id>259</id>
      <parentid>219</parentid>
      <timestamp>2018-10-12T20:14:24Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>+dev</comment>
      <origin>259</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="205" sha1="n5zn4r8kpyvbirwile0h2gvf42hjoao" xml:space="preserve">No hablo español, intento ayudar con la traducción automática del wiki.

¡Por favor, deténganme si hago algo mal!

&lt;!-- interwiki links --&gt;
[[de:User:Xenwolf]]
[[en:User:Xenwolf]]
[[dev:User:Xenwolf]]</text>
      <sha1>n5zn4r8kpyvbirwile0h2gvf42hjoao</sha1>
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    <revision>
      <id>260</id>
      <parentid>259</parentid>
      <timestamp>2018-10-12T20:38:04Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>+interwiki navi</comment>
      <origin>260</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="463" sha1="algbtj4osedxh90n1ffjk0do5lmj0qc" xml:space="preserve">&lt;div style="
border:1px solid lightgrey;
background-color: #eef;
display: inline-block;
margin: 0 0 0.25em 0.5em;
padding: 0.25em 0.5em;
float: right;
"&gt;[[:de:User:Xenwolf|de]] [[:en:User:Xenwolf|en]] [[:es:User:Xenwolf|es]] [[:dev:User:Xenwolf|dev]]&lt;/div&gt;

No hablo español, intento ayudar con la traducción automática del wiki.

¡Por favor, deténganme si hago algo mal!

&lt;!-- interwiki links --&gt;
[[de:User:Xenwolf]]
[[en:User:Xenwolf]]
[[dev:User:Xenwolf]]</text>
      <sha1>algbtj4osedxh90n1ffjk0do5lmj0qc</sha1>
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  </page>
  <page>
    <title>Espacio cordal</title>
    <ns>0</ns>
    <id>65</id>
    <revision>
      <id>220</id>
      <timestamp>2018-10-02T16:35:43Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>interim stage of semi-automatic translation</comment>
      <origin>220</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="8318" sha1="jigtc84m97qsf7k009pxf5uwxe4chej" xml:space="preserve">En la música, el espacio cordal es un modelo matemático de las relaciones entre acordes en algunos sistemas musicales. Estos modelos son a menudo gráficos o recubrimientos cerámicos. Estrechamente relacionado con el espacio cordal está el espacio modulatorio, que representa las clases de afinación; los acordes de un espacio cordal se eligen entre las clases de afinación de un espacio modulatorio.

== Historia del espacio cordal ==

Uno de los primeros modelos gráficos de relaciones de acordes fue ideado por [http://en.wikipedia.org/wiki/Johann_David_Heinichen Johann David Heinichen] en 1728; propuso colocar los acordes mayor y menor en un arreglo circular de veinticuatro acordes arreglados de acuerdo al círculo de las quintas; leyendo en el sentido de las manecillas del reloj, .... F, d, C, a, G, .... (Lerdahl, 2001). El mayor actualmente más popular en el relativo menor exterior en el formato interior fue propuesto por [http://en.wikipedia.org/wiki/David_Kellner David Kellner] (1737).

[http://en.wikipedia.org/wiki/Gottfried_Weber Gottfried Weber] y F. G. Vial sugirieron un modelo de espacio cordal [http://en.wikipedia.org/wiki/Lattice_graph grid graph] o [http://en.wikipedia.org/wiki/Square_lattice square celtice]; la celosía de Weber centrada en Do mayor, sí:

{| class="wikitable"
|-
| d♯
| F♯
| f♯
| A
| a
| C
| c
|-
| g♯
| B
| b
| D
| d
| F
| f
|-
| c♯
| E
| e
| G
| g
| B♭
| b♭
|-
| f♯
| A
| a
| C
| c
| E♭
| e♭
|-
| b
| D
| d
| F
| f
| A♭
| a♭
|-
| e
| G
| g
| B♭
| b♭
| D♭
| d♭
|-
| a
| C
| c
| E♭
| e♭
| G♭
| g♭
|}

Las letras minúsculas indican tecla minúscula, mayúscula y minúscula. Esto fue propuesto por primera vez por Vial (1767) (más tarde Weber, Riemann, Schoenberg), siendo la ventaja sobre el círculo de las quintas que representa tanto la mayor relativa como la mayor paralela. (Lerdahl, 2001)

== Principios del espacio cordal ==

El espacio de acordes de Vial/Weber representa dos tipos diferentes de relaciones: tonos comunes compartidos y conducción de voz eficiente. Por ejemplo, la proximidad de los acordes en Do mayor y Mi menor refleja el hecho de que los dos acordes comparten dos tonos comunes, Mi y Sol. Además, un acorde puede transformarse en otro moviendo una sola nota con sólo un semitono: para transformar un acorde en Do mayor en un acorde en Mi menor, basta con mover de Do a Si menor. Además, el espacio cordal Vial/Weber está estrechamente relacionado con las celosías bidimensionales descritas en el artículo sobre espacio de afinación: cada acorde del espacio cordal Vial/Weber puede asociarse con un triángulo en la celosía de clase de afinación [http://en.wikipedia.org/wiki/Tonnetz Tonnetz] o bidimensional.

La estrecha correspondencia entre estas propiedades - tonos comunes compartidos, conducción eficiente de la voz y las celosías de tono bidimensionales - depende del hecho de que el temperamento de la persona significada utiliza un intervalo de consonantes, el quinto, como generador, y puede no aplicarse en otros casos.

Sin embargo, cuando se construye un espacio cordal, varios principios generales son útiles. La primera es que el espacio cordal debe ser o definir un [[regular_graph|regular graph]], cuya regularidad está ligada a la regularidad del espacio modulador correspondiente. El segundo es que para empezar con al menos, sólo los acordes más básicos del sistema tonal en cuestión deben ser considerados. La tercera es que dos acordes deben estar vinculados si y sólo si comparten un intervalo común. Los acordes que comparten una nota común pueden ser alcanzados a través de estas conexiones más cercanas.

== Espacio cordal cíclico ==

En la disposición circular F - d - C - a ...., los acordes F y d comparten dos tonos comunes, y pueden ser enlazados por medio de una eficiente guía de voz. Sin embargo, los acordes d y C no comparten ningún tono común, y no pueden ser enlazados por una voz muy eficiente. En contraste en la serie d - F - a - C - e - G ...., cada acorde comparte dos notas con sus vecinos y puede transformarse en ellas moviendo una nota por uno o dos semitonos. El patrón de acordes resultante puede generarse en el espacio Vial/Weber, moviéndose hacia arriba a lo largo de columnas adyacentes en el espacio.

Cualquier dos acordes adyacentes en esta cadena están ahora unidos por dos intervalos, de modo que los dos acordes adyacentes a un acorde dado están fuertemente unidos a ese acorde. Luego observamos (bajo el supuesto de un temperamento de significados) que d también está ligado por un intervalo compartido (esta vez el quinto) con D. Por lo tanto, trazamos una línea adelante siete pasos desde la tríada menor hasta la tríada mayor en la misma raíz, o detrás de siete pasos desde una tríada mayor hasta su tríada menor asociada. Sin embargo, no trazamos una línea adelante de Do mayor a Do menor, o atrás de Mi menor a Mi bemol mayor, porque estos comparten sólo una nota.

Ahora podemos tomar las veinticuatro tríadas mayores y menores de igual temperamento y colocarlas en los vértices de una tríada regular de 24 gones. Luego dibujamos líneas de tríadas separadas por un paso, y también de cada tríada mayor a su tríada menor paralela, y obtenemos una imagen geométrica de la gráfica regular en cuestión, que modela satisfactoriamente las relaciones triádicas en 12 temperamentos iguales.

[[:en:Archivo:Chordal12.svg]]

Podemos obtener imágenes muy similares para cualquiera de los otros temperamentos iguales que apoyan el uso de [[:en:meantone temperament]], incluyendo en particular [[19 EDO]] y [[31 EDO]], dibujando un 38-gon o un 62-gon respectivamente, y uniendo todos los acordes separados por un paso, y la mitad correcta separada por siete pasos.

Se puede considerar que la presencia de ciclos, o caminos de bucle cerrado, en estos espacios cordales cíclicos es un defecto. Sin embargo, su eliminación no es necesaria ni deseable; de hecho, son el resultado de una característica fundamental del temperamento, a saber, las bombas de coma. Estos son ciclos de acordes que si se atraviesan en una entonación justa darían lugar a la modulación por un pequeño intervalo, o coma, pero que en la afinación del temperamento simplemente regresa a su punto de partida. El ciclo C-a-F-d-D-D-b-G-e-C es característico de la media naranja, por lo que es de esperar su presencia en estos espacios cordales cíclicos. El cierre del temperamento igual de 24 gones de 12 nos dice que la [[coma pitagórica]] ([[:en:Pythagorean comma]]) también está templada en este sistema; de hecho, es una bomba de coma para la coma pitagórica. El temperamento igual puede describirse como el temperamento con las comas sintética y pitagórica templadas, por lo que debemos encontrar y encontrar ambos tipos de bombas de comas. En otras palabras, esto no es un error, es una característica.

Los espacios cordales cíclicos no están de ninguna manera limitados a temperamentos iguales que soportan al meantone. Un examen del diagrama de 12 espacios cordales iguales mostrará que también podría describirse como un círculo de quintas, con tríadas mayores representadas por números pares y tríadas menores por números impares, de tal manera que por cada número par sumamos 17, y por cada número impar restamos 17, ambos módulo 24, y luego trazamos una línea entre los dos nodos. Esto se debe a que -7 modulo 24 es lo mismo que 17 modulo 24. Podemos hacer lo mismo en otros temperamentos iguales debidamente seleccionados, por ejemplo [[53 EDO]] ([[:en:53edo]]), y obtener un espacio de acordes correspondiente a [[:en:schismatic temperament]]. Sin embargo, esta no es la única manera de organizar las 106 tríadas de 53 iguales. Podemos igualmente empezar con la cadena -A-a-C-c-c-Eb-eb-...., y trazar una línea entre el nodo i y el nodo i+11 siempre que sea par, y entre i e i-11 siempre que sea impar. Esto produce un cuadro de 53 iguales dispuestos en términos de [[:en:hanson_temperament|hanson temperament]], lo que atempera el [http://en.wikipedia.org/wiki/Kleisma kleisma], o 15625/15552. Los dos gráficos son de hecho isomórficos, y así en un nivel más abstracto las dos imágenes son idénticas, pero como están representadas son bastante diferentes.</text>
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    <revision>
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      <timestamp>2018-10-02T16:42:07Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
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      <comment>added paragraph</comment>
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      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="9971" sha1="qqwf2qet1epxxd0aj0rtdp910c84dte" xml:space="preserve">En la música, el espacio cordal es un modelo matemático de las relaciones entre acordes en algunos sistemas musicales. Estos modelos son a menudo gráficos o recubrimientos cerámicos. Estrechamente relacionado con el espacio cordal está el espacio modulatorio, que representa las clases de afinación; los acordes de un espacio cordal se eligen entre las clases de afinación de un espacio modulatorio.

== Historia del espacio cordal ==

Uno de los primeros modelos gráficos de relaciones de acordes fue ideado por [http://en.wikipedia.org/wiki/Johann_David_Heinichen Johann David Heinichen] en 1728; propuso colocar los acordes mayor y menor en un arreglo circular de veinticuatro acordes arreglados de acuerdo al círculo de las quintas; leyendo en el sentido de las manecillas del reloj, .... F, d, C, a, G, .... (Lerdahl, 2001). El mayor actualmente más popular en el relativo menor exterior en el formato interior fue propuesto por [http://en.wikipedia.org/wiki/David_Kellner David Kellner] (1737).

[http://en.wikipedia.org/wiki/Gottfried_Weber Gottfried Weber] y F. G. Vial sugirieron un modelo de espacio cordal [http://en.wikipedia.org/wiki/Lattice_graph grid graph] o [http://en.wikipedia.org/wiki/Square_lattice square celtice]; la celosía de Weber centrada en Do mayor, sí:

{| class="wikitable"
|-
| d♯
| F♯
| f♯
| A
| a
| C
| c
|-
| g♯
| B
| b
| D
| d
| F
| f
|-
| c♯
| E
| e
| G
| g
| B♭
| b♭
|-
| f♯
| A
| a
| C
| c
| E♭
| e♭
|-
| b
| D
| d
| F
| f
| A♭
| a♭
|-
| e
| G
| g
| B♭
| b♭
| D♭
| d♭
|-
| a
| C
| c
| E♭
| e♭
| G♭
| g♭
|}

Las letras minúsculas indican tecla minúscula, mayúscula y minúscula. Esto fue propuesto por primera vez por Vial (1767) (más tarde Weber, Riemann, Schoenberg), siendo la ventaja sobre el círculo de las quintas que representa tanto la mayor relativa como la mayor paralela. (Lerdahl, 2001)

== Principios del espacio cordal ==

El espacio de acordes de Vial/Weber representa dos tipos diferentes de relaciones: tonos comunes compartidos y conducción de voz eficiente. Por ejemplo, la proximidad de los acordes en Do mayor y Mi menor refleja el hecho de que los dos acordes comparten dos tonos comunes, Mi y Sol. Además, un acorde puede transformarse en otro moviendo una sola nota con sólo un semitono: para transformar un acorde en Do mayor en un acorde en Mi menor, basta con mover de Do a Si menor. Además, el espacio cordal Vial/Weber está estrechamente relacionado con las celosías bidimensionales descritas en el artículo sobre espacio de afinación: cada acorde del espacio cordal Vial/Weber puede asociarse con un triángulo en la celosía de clase de afinación [http://en.wikipedia.org/wiki/Tonnetz Tonnetz] o bidimensional.

La estrecha correspondencia entre estas propiedades - tonos comunes compartidos, conducción eficiente de la voz y las celosías de tono bidimensionales - depende del hecho de que el temperamento de la persona significada utiliza un intervalo de consonantes, el quinto, como generador, y puede no aplicarse en otros casos.

Sin embargo, cuando se construye un espacio cordal, varios principios generales son útiles. La primera es que el espacio cordal debe ser o definir un [[regular_graph|regular graph]], cuya regularidad está ligada a la regularidad del espacio modulador correspondiente. El segundo es que para empezar con al menos, sólo los acordes más básicos del sistema tonal en cuestión deben ser considerados. La tercera es que dos acordes deben estar vinculados si y sólo si comparten un intervalo común. Los acordes que comparten una nota común pueden ser alcanzados a través de estas conexiones más cercanas.

== Espacio cordal cíclico ==

En la disposición circular F - d - C - a ...., los acordes F y d comparten dos tonos comunes, y pueden ser enlazados por medio de una eficiente guía de voz. Sin embargo, los acordes d y C no comparten ningún tono común, y no pueden ser enlazados por una voz muy eficiente. En contraste en la serie d - F - a - C - e - G ...., cada acorde comparte dos notas con sus vecinos y puede transformarse en ellas moviendo una nota por uno o dos semitonos. El patrón de acordes resultante puede generarse en el espacio Vial/Weber, moviéndose hacia arriba a lo largo de columnas adyacentes en el espacio.

Cualquier dos acordes adyacentes en esta cadena están ahora unidos por dos intervalos, de modo que los dos acordes adyacentes a un acorde dado están fuertemente unidos a ese acorde. Luego observamos (bajo el supuesto de un temperamento de significados) que d también está ligado por un intervalo compartido (esta vez el quinto) con D. Por lo tanto, trazamos una línea adelante siete pasos desde la tríada menor hasta la tríada mayor en la misma raíz, o detrás de siete pasos desde una tríada mayor hasta su tríada menor asociada. Sin embargo, no trazamos una línea adelante de Do mayor a Do menor, o atrás de Mi menor a Mi bemol mayor, porque estos comparten sólo una nota.

Ahora podemos tomar las veinticuatro tríadas mayores y menores de igual temperamento y colocarlas en los vértices de una tríada regular de 24 gones. Luego dibujamos líneas de tríadas separadas por un paso, y también de cada tríada mayor a su tríada menor paralela, y obtenemos una imagen geométrica de la gráfica regular en cuestión, que modela satisfactoriamente las relaciones triádicas en 12 temperamentos iguales.

[[:en:Archivo:Chordal12.svg]]

Podemos obtener imágenes muy similares para cualquiera de los otros temperamentos iguales que apoyan el uso de [[:en:meantone temperament]], incluyendo en particular [[19 EDO]] y [[31 EDO]], dibujando un 38-gon o un 62-gon respectivamente, y uniendo todos los acordes separados por un paso, y la mitad correcta separada por siete pasos.

Se puede considerar que la presencia de ciclos, o caminos de bucle cerrado, en estos espacios cordales cíclicos es un defecto. Sin embargo, su eliminación no es necesaria ni deseable; de hecho, son el resultado de una característica fundamental del temperamento, a saber, las bombas de coma. Estos son ciclos de acordes que si se atraviesan en una entonación justa darían lugar a la modulación por un pequeño intervalo, o coma, pero que en la afinación del temperamento simplemente regresa a su punto de partida. El ciclo C-a-F-d-D-D-b-G-e-C es característico de la media naranja, por lo que es de esperar su presencia en estos espacios cordales cíclicos. El cierre del temperamento igual de 24 gones de 12 nos dice que la [[coma pitagórica]] ([[:en:Pythagorean comma]]) también está templada en este sistema; de hecho, es una bomba de coma para la coma pitagórica. El temperamento igual puede describirse como el temperamento con las comas sintética y pitagórica templadas, por lo que debemos encontrar y encontrar ambos tipos de bombas de comas. En otras palabras, esto no es un error, es una característica.

Los espacios cordales cíclicos no están de ninguna manera limitados a temperamentos iguales que soportan al meantone. Un examen del diagrama de 12 espacios cordales iguales mostrará que también podría describirse como un círculo de quintas, con tríadas mayores representadas por números pares y tríadas menores por números impares, de tal manera que por cada número par sumamos 17, y por cada número impar restamos 17, ambos módulo 24, y luego trazamos una línea entre los dos nodos. Esto se debe a que -7 modulo 24 es lo mismo que 17 modulo 24. Podemos hacer lo mismo en otros temperamentos iguales debidamente seleccionados, por ejemplo [[53 EDO]] ([[:en:53edo]]), y obtener un espacio de acordes correspondiente a [[:en:schismatic temperament]]. Sin embargo, esta no es la única manera de organizar las 106 tríadas de 53 iguales. Podemos igualmente empezar con la cadena -A-a-C-c-c-Eb-eb-...., y trazar una línea entre el nodo i y el nodo i+11 siempre que sea par, y entre i e i-11 siempre que sea impar. Esto produce un cuadro de 53 iguales dispuestos en términos de [[:en:hanson temperament]], lo que atempera el [http://en.wikipedia.org/wiki/Kleisma kleisma], o 15625/15552. Los dos gráficos son de hecho isomórficos, y así en un nivel más abstracto las dos imágenes son idénticas, pero como están representadas son bastante diferentes.

== Espacio cordal lineal ==

Si tomamos una cadena de acordes mayores y menores arreglados como arreglamos los acordes en un círculo de quintas, a saber, .... -d-F-a-C-e-G-b-D-..., y luego dibujamos bucles de las tríadas menores antes de los siete pasos de las tríadas mayores, obtenemos una imagen del espacio de acordes en genérico, o lógico, significada. Esta es una media naranja que no está sintonizada con un temperamento igual, de modo que el círculo no se cierra, como por ejemplo [[:en:quarter-comma meantone]]. Si hacemos lo mismo con los dos cuadros de temperamento igual discutidos en la sección anterior, ahora obtenemos dos espacios acordes lineales, uno basado en una cadena de quintos y el otro en una cadena de tercios menores. Estos dos espacios cordales son ahora ''no'' isomórficos, y representan espacio cordal para los temperamentos cismático y hanson respectivamente.

También podemos producir espacios cordales lineales y cíclicos para una armonía de límite superior, como la armonía septimal. Por ejemplo, podemos tomar las 144 tétradas septimales de [[72 EDO]] ([[:en:72edo]]), dispuestas de tal manera que a dos pasos de una tétrada [[:en:otonal]] nos lleve a otra tétrada otonal con la raíz 7 pasos de 72 igual de alta, y del mismo modo para las tétradas [[:en:utonal]]. Entonces podemos trazar líneas entre los acordes siempre que estén a uno, once o quince pasos de distancia. A diferencia de las tríadas, no tenemos que preocuparnos por los diferentes tipos de acordes para números pares e impares de pasos. Podemos desenrollar esta imagen de 72 iguales en un espacio cordal lineal para [[:en:miracle temperament]].</text>
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    </revision>
    <revision>
      <id>224</id>
      <parentid>222</parentid>
      <timestamp>2018-10-02T17:00:54Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>done</comment>
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      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="13721" sha1="ksbss85msjf2qthh419gism95517y45" xml:space="preserve">{{Autotranslated|Chordal space}}

En la música, el espacio cordal es un modelo matemático de las relaciones entre acordes en algunos sistemas musicales. Estos modelos son a menudo gráficos o recubrimientos cerámicos. Estrechamente relacionado con el espacio cordal está el espacio modulatorio, que representa las clases de afinación; los acordes de un espacio cordal se eligen entre las clases de afinación de un espacio modulatorio.

== Historia del espacio cordal ==

Uno de los primeros modelos gráficos de relaciones de acordes fue ideado por [http://en.wikipedia.org/wiki/Johann_David_Heinichen Johann David Heinichen] en 1728; propuso colocar los acordes mayor y menor en un arreglo circular de veinticuatro acordes arreglados de acuerdo al círculo de las quintas; leyendo en el sentido de las manecillas del reloj, .... F, d, C, a, G, .... (Lerdahl, 2001). El mayor actualmente más popular en el relativo menor exterior en el formato interior fue propuesto por [http://en.wikipedia.org/wiki/David_Kellner David Kellner] (1737).

[http://en.wikipedia.org/wiki/Gottfried_Weber Gottfried Weber] y F. G. Vial sugirieron un modelo de espacio cordal [http://en.wikipedia.org/wiki/Lattice_graph grid graph] o [http://en.wikipedia.org/wiki/Square_lattice square celtice]; la celosía de Weber centrada en Do mayor, sí:

{| class="wikitable"
|-
| d♯
| F♯
| f♯
| A
| a
| C
| c
|-
| g♯
| B
| b
| D
| d
| F
| f
|-
| c♯
| E
| e
| G
| g
| B♭
| b♭
|-
| f♯
| A
| a
| C
| c
| E♭
| e♭
|-
| b
| D
| d
| F
| f
| A♭
| a♭
|-
| e
| G
| g
| B♭
| b♭
| D♭
| d♭
|-
| a
| C
| c
| E♭
| e♭
| G♭
| g♭
|}

Las letras minúsculas indican tecla minúscula, mayúscula y minúscula. Esto fue propuesto por primera vez por Vial (1767) (más tarde Weber, Riemann, Schoenberg), siendo la ventaja sobre el círculo de las quintas que representa tanto la mayor relativa como la mayor paralela. (Lerdahl, 2001)

== Principios del espacio cordal ==

El espacio de acordes de Vial/Weber representa dos tipos diferentes de relaciones: tonos comunes compartidos y conducción de voz eficiente. Por ejemplo, la proximidad de los acordes en Do mayor y Mi menor refleja el hecho de que los dos acordes comparten dos tonos comunes, Mi y Sol. Además, un acorde puede transformarse en otro moviendo una sola nota con sólo un semitono: para transformar un acorde en Do mayor en un acorde en Mi menor, basta con mover de Do a Si menor. Además, el espacio cordal Vial/Weber está estrechamente relacionado con las celosías bidimensionales descritas en el artículo sobre espacio de afinación: cada acorde del espacio cordal Vial/Weber puede asociarse con un triángulo en la celosía de clase de afinación [http://en.wikipedia.org/wiki/Tonnetz Tonnetz] o bidimensional.

La estrecha correspondencia entre estas propiedades - tonos comunes compartidos, conducción eficiente de la voz y las celosías de tono bidimensionales - depende del hecho de que el temperamento de la persona significada utiliza un intervalo de consonantes, el quinto, como generador, y puede no aplicarse en otros casos.

Sin embargo, cuando se construye un espacio cordal, varios principios generales son útiles. La primera es que el espacio cordal debe ser o definir un [[regular_graph|regular graph]], cuya regularidad está ligada a la regularidad del espacio modulador correspondiente. El segundo es que para empezar con al menos, sólo los acordes más básicos del sistema tonal en cuestión deben ser considerados. La tercera es que dos acordes deben estar vinculados si y sólo si comparten un intervalo común. Los acordes que comparten una nota común pueden ser alcanzados a través de estas conexiones más cercanas.

== Espacio cordal cíclico ==

En la disposición circular F - d - C - a ...., los acordes F y d comparten dos tonos comunes, y pueden ser enlazados por medio de una eficiente guía de voz. Sin embargo, los acordes d y C no comparten ningún tono común, y no pueden ser enlazados por una voz muy eficiente. En contraste en la serie d - F - a - C - e - G ...., cada acorde comparte dos notas con sus vecinos y puede transformarse en ellas moviendo una nota por uno o dos semitonos. El patrón de acordes resultante puede generarse en el espacio Vial/Weber, moviéndose hacia arriba a lo largo de columnas adyacentes en el espacio.

Cualquier dos acordes adyacentes en esta cadena están ahora unidos por dos intervalos, de modo que los dos acordes adyacentes a un acorde dado están fuertemente unidos a ese acorde. Luego observamos (bajo el supuesto de un temperamento de significados) que d también está ligado por un intervalo compartido (esta vez el quinto) con D. Por lo tanto, trazamos una línea adelante siete pasos desde la tríada menor hasta la tríada mayor en la misma raíz, o detrás de siete pasos desde una tríada mayor hasta su tríada menor asociada. Sin embargo, no trazamos una línea adelante de Do mayor a Do menor, o atrás de Mi menor a Mi bemol mayor, porque estos comparten sólo una nota.

Ahora podemos tomar las veinticuatro tríadas mayores y menores de igual temperamento y colocarlas en los vértices de una tríada regular de 24 gones. Luego dibujamos líneas de tríadas separadas por un paso, y también de cada tríada mayor a su tríada menor paralela, y obtenemos una imagen geométrica de la gráfica regular en cuestión, que modela satisfactoriamente las relaciones triádicas en 12 temperamentos iguales.

[[:en:Archivo:Chordal12.svg]]

Podemos obtener imágenes muy similares para cualquiera de los otros temperamentos iguales que apoyan el uso de [[:en:meantone temperament]], incluyendo en particular [[19 EDO]] y [[31 EDO]], dibujando un 38-gon o un 62-gon respectivamente, y uniendo todos los acordes separados por un paso, y la mitad correcta separada por siete pasos.

Se puede considerar que la presencia de ciclos, o caminos de bucle cerrado, en estos espacios cordales cíclicos es un defecto. Sin embargo, su eliminación no es necesaria ni deseable; de hecho, son el resultado de una característica fundamental del temperamento, a saber, las bombas de coma. Estos son ciclos de acordes que si se atraviesan en una entonación justa darían lugar a la modulación por un pequeño intervalo, o coma, pero que en la afinación del temperamento simplemente regresa a su punto de partida. El ciclo C-a-F-d-D-D-b-G-e-C es característico de la media naranja, por lo que es de esperar su presencia en estos espacios cordales cíclicos. El cierre del temperamento igual de 24 gones de 12 nos dice que la [[coma pitagórica]] ([[:en:Pythagorean comma]]) también está templada en este sistema; de hecho, es una bomba de coma para la coma pitagórica. El temperamento igual puede describirse como el temperamento con las comas sintética y pitagórica templadas, por lo que debemos encontrar y encontrar ambos tipos de bombas de comas. En otras palabras, esto no es un error, es una característica.

Los espacios cordales cíclicos no están de ninguna manera limitados a temperamentos iguales que soportan al meantone. Un examen del diagrama de 12 espacios cordales iguales mostrará que también podría describirse como un círculo de quintas, con tríadas mayores representadas por números pares y tríadas menores por números impares, de tal manera que por cada número par sumamos 17, y por cada número impar restamos 17, ambos módulo 24, y luego trazamos una línea entre los dos nodos. Esto se debe a que -7 modulo 24 es lo mismo que 17 modulo 24. Podemos hacer lo mismo en otros temperamentos iguales debidamente seleccionados, por ejemplo [[53 EDO]] ([[:en:53edo]]), y obtener un espacio de acordes correspondiente a [[:en:schismatic temperament]]. Sin embargo, esta no es la única manera de organizar las 106 tríadas de 53 iguales. Podemos igualmente empezar con la cadena -A-a-C-c-c-Eb-eb-...., y trazar una línea entre el nodo i y el nodo i+11 siempre que sea par, y entre i e i-11 siempre que sea impar. Esto produce un cuadro de 53 iguales dispuestos en términos de [[:en:hanson temperament]], lo que atempera el [http://en.wikipedia.org/wiki/Kleisma kleisma], o 15625/15552. Los dos gráficos son de hecho isomórficos, y así en un nivel más abstracto las dos imágenes son idénticas, pero como están representadas son bastante diferentes.

== Espacio cordal lineal ==

Si tomamos una cadena de acordes mayores y menores arreglados como arreglamos los acordes en un círculo de quintas, a saber, .... -d-F-a-C-e-G-b-D-..., y luego dibujamos bucles de las tríadas menores antes de los siete pasos de las tríadas mayores, obtenemos una imagen del espacio de acordes en genérico, o lógico, significada. Esta es una media naranja que no está sintonizada con un temperamento igual, de modo que el círculo no se cierra, como por ejemplo [[:en:quarter-comma meantone]]. Si hacemos lo mismo con los dos cuadros de temperamento igual discutidos en la sección anterior, ahora obtenemos dos espacios acordes lineales, uno basado en una cadena de quintos y el otro en una cadena de tercios menores. Estos dos espacios cordales son ahora ''no'' isomórficos, y representan espacio cordal para los temperamentos cismático y hanson respectivamente.

También podemos producir espacios cordales lineales y cíclicos para una armonía de límite superior, como la armonía septimal. Por ejemplo, podemos tomar las 144 tétradas septimales de [[72 EDO]] ([[:en:72edo]]), dispuestas de tal manera que a dos pasos de una tétrada [[:en:otonal]] nos lleve a otra tétrada otonal con la raíz 7 pasos de 72 igual de alta, y del mismo modo para las tétradas [[:en:utonal]]. Entonces podemos trazar líneas entre los acordes siempre que estén a uno, once o quince pasos de distancia. A diferencia de las tríadas, no tenemos que preocuparnos por los diferentes tipos de acordes para números pares e impares de pasos. Podemos desenrollar esta imagen de 72 iguales en un espacio cordal lineal para [[:en:miracle temperament]].

Traducido por: akallabeth@TheSubFactory

La carta regional de [[:en:Gottfried Weber]] representa el primer intento de definir las relaciones bidimensionales del espacio cordal de la entonación justa de cinco límites. Sin embargo, no fue concebido como un sistema para representar sólo la entonación, y por lo tanto tiene el mismo nombre de acorde que aparece en diferentes lugares. En la entonación pura y justa, estos serían acordes diferentes.

Comenzando con la imagen [http://en.wikipedia.org/wiki/Hexagonal_lattice hexagonal lattice] de cinco límites [[:en:modulatory space]], podemos llegar a una imagen más teóricamente satisfactoria del espacio cordal de cinco límites, que Lerdahl caracteriza como "neo-Riemannian". Las regiones triangulares equiláteras corresponden a tríadas, con la diferencia entre tríadas mayores y menores representadas por dos orientaciones diferentes. Tomando los puntos medios de estos triángulos como verticales, y dibujando un borde entre ellos si los triángulos comparten un lado (lo que significa que las tríadas correspondientes comparten un intervalo) podemos crear un mosaico del plano, llamado mosaico doble al mosaico de celosía hexagonal, que se conoce como [http://en.wikipedia.org/wiki/Hexagonal_tiling hexagonal tiling]. Cada vértice de este mosaico representa una tríada, y de cada vértice hay tres bordes cada 120 aparte de los otros, que se conectan a las tres tríadas que comparten un intervalo con la tríada dada. Las tres direcciones diferentes de los bordes corresponden a las tres "transformaciones neorrománicas": R", que conecta mayor a menor relativo, por ejemplo Do a a; "L", que conecta un acorde mayor a un acorde que contiene un tono principal, por ejemplo Do a Mi; y "P", que conecta una tríada mayor a su paralelo menor, por ejemplo Do a Do.

== Espacio acorde de siete límites ==

Si tomamos las tétradas [[:en:otonal]] y [[:en:utonal]]] tétradas de siete límites de entonación,

y dibujar un borde entre ellos si comparten un intervalo común, obtenemos el espacio cordal básico de la armonía de siete límites. Tiene la notable propiedad de formar un entramado; las tétradas están asociadas a triples de enteros (a, b, c), lo que define el [[:en:cubic lattice]], o entramado entero tridimensional. Si

a+b+c es un número par, la tétrada correspondiente es mayor con root

3^(-a+b+c)/2 5^(a-b+c)/2 7^(a+b-c)/2. Si a+b+c es impar, es menor, o utonal, con raíz

3^(-1-a+b+c)/2 5^(1+a-b+c)/2 7^(1+a+b-c)/2. Esta estructura muy regular es hasta cierto punto heredada por los espacios cordales cíclicos o lineales de siete límites, haciéndolos de alguna manera más regulares que los correspondientes espacios de cinco límites.

== Ver también ==

* [[:en:Pitch space]]
* [[:en:Modulatory space]]

== Enlaces externos ==

* [http://66.98.148.43/~xenharmo/sevlat.htm http://66.98.148.43/~xenharmo/sevlat.htm Espacio modulador y cordal de siete límites]

== Referencias ==
* Lerdahl, Fred (2001). "Tonal Pitch Space", págs. 42-43. Oxford: Oxford University Press. ISBN 0195058348.
* Mathieu, W. A. (1997). "Experiencia armónica": Armonía tonal desde sus orígenes naturales hasta su expresión moderna''. Inner Traditions Intl Ltd. ISBN 0892815604.
* [https://category.wikispaces.com/Music_theory Category:Music theory - Wikipedia] (en)
* [https://category.wikispaces.com/Pitch Category:Pitch - Wikipedia] (en)

Este artículo utiliza información de una versión antigua del artículo de Wikipedia del mismo nombre, eliminada no por estar equivocada sino por ser demasiado "original".

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[[Categoría:teoría]]
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      <text bytes="13742" sha1="os6lf5xusib758hvncw98twfa6nn5c2" xml:space="preserve">{{Autotranslated|Chordal space}}

En la música, el espacio cordal es un modelo matemático de las relaciones entre acordes en algunos sistemas musicales. Estos modelos son a menudo gráficos o recubrimientos cerámicos. Estrechamente relacionado con el espacio cordal está el espacio modulatorio, que representa las clases de afinación; los acordes de un espacio cordal se eligen entre las clases de afinación de un espacio modulatorio.

== Historia del espacio cordal ==

Uno de los primeros modelos gráficos de relaciones de acordes fue ideado por [http://en.wikipedia.org/wiki/Johann_David_Heinichen Johann David Heinichen] en 1728; propuso colocar los acordes mayor y menor en un arreglo circular de veinticuatro acordes arreglados de acuerdo al círculo de las quintas; leyendo en el sentido de las manecillas del reloj, .... F, d, C, a, G, .... (Lerdahl, 2001). El mayor actualmente más popular en el relativo menor exterior en el formato interior fue propuesto por [http://en.wikipedia.org/wiki/David_Kellner David Kellner] (1737).

[http://en.wikipedia.org/wiki/Gottfried_Weber Gottfried Weber] y F. G. Vial sugirieron un modelo de espacio cordal [http://en.wikipedia.org/wiki/Lattice_graph grid graph] o [http://en.wikipedia.org/wiki/Square_lattice square celtice]; la celosía de Weber centrada en Do mayor, sí:

{| class="wikitable"
|-
| d♯
| F♯
| f♯
| A
| a
| C
| c
|-
| g♯
| B
| b
| D
| d
| F
| f
|-
| c♯
| E
| e
| G
| g
| B♭
| b♭
|-
| f♯
| A
| a
| C
| c
| E♭
| e♭
|-
| b
| D
| d
| F
| f
| A♭
| a♭
|-
| e
| G
| g
| B♭
| b♭
| D♭
| d♭
|-
| a
| C
| c
| E♭
| e♭
| G♭
| g♭
|}

Las letras minúsculas indican tecla minúscula, mayúscula y minúscula. Esto fue propuesto por primera vez por Vial (1767) (más tarde Weber, Riemann, Schoenberg), siendo la ventaja sobre el círculo de las quintas que representa tanto la mayor relativa como la mayor paralela. (Lerdahl, 2001)

== Principios del espacio cordal ==

El espacio de acordes de Vial/Weber representa dos tipos diferentes de relaciones: tonos comunes compartidos y conducción de voz eficiente. Por ejemplo, la proximidad de los acordes en Do mayor y Mi menor refleja el hecho de que los dos acordes comparten dos tonos comunes, Mi y Sol. Además, un acorde puede transformarse en otro moviendo una sola nota con sólo un semitono: para transformar un acorde en Do mayor en un acorde en Mi menor, basta con mover de Do a Si menor. Además, el espacio cordal Vial/Weber está estrechamente relacionado con las celosías bidimensionales descritas en el artículo sobre espacio de afinación: cada acorde del espacio cordal Vial/Weber puede asociarse con un triángulo en la celosía de clase de afinación [http://en.wikipedia.org/wiki/Tonnetz Tonnetz] o bidimensional.

La estrecha correspondencia entre estas propiedades - tonos comunes compartidos, conducción eficiente de la voz y las celosías de tono bidimensionales - depende del hecho de que el temperamento de la persona significada utiliza un intervalo de consonantes, el quinto, como generador, y puede no aplicarse en otros casos.

Sin embargo, cuando se construye un espacio cordal, varios principios generales son útiles. La primera es que el espacio cordal debe ser o definir un [[regular_graph|regular graph]], cuya regularidad está ligada a la regularidad del espacio modulador correspondiente. El segundo es que para empezar con al menos, sólo los acordes más básicos del sistema tonal en cuestión deben ser considerados. La tercera es que dos acordes deben estar vinculados si y sólo si comparten un intervalo común. Los acordes que comparten una nota común pueden ser alcanzados a través de estas conexiones más cercanas.

== Espacio cordal cíclico ==

En la disposición circular F - d - C - a ...., los acordes F y d comparten dos tonos comunes, y pueden ser enlazados por medio de una eficiente guía de voz. Sin embargo, los acordes d y C no comparten ningún tono común, y no pueden ser enlazados por una voz muy eficiente. En contraste en la serie d - F - a - C - e - G ...., cada acorde comparte dos notas con sus vecinos y puede transformarse en ellas moviendo una nota por uno o dos semitonos. El patrón de acordes resultante puede generarse en el espacio Vial/Weber, moviéndose hacia arriba a lo largo de columnas adyacentes en el espacio.

Cualquier dos acordes adyacentes en esta cadena están ahora unidos por dos intervalos, de modo que los dos acordes adyacentes a un acorde dado están fuertemente unidos a ese acorde. Luego observamos (bajo el supuesto de un temperamento de significados) que d también está ligado por un intervalo compartido (esta vez el quinto) con D. Por lo tanto, trazamos una línea adelante siete pasos desde la tríada menor hasta la tríada mayor en la misma raíz, o detrás de siete pasos desde una tríada mayor hasta su tríada menor asociada. Sin embargo, no trazamos una línea adelante de Do mayor a Do menor, o atrás de Mi menor a Mi bemol mayor, porque estos comparten sólo una nota.

Ahora podemos tomar las veinticuatro tríadas mayores y menores de igual temperamento y colocarlas en los vértices de una tríada regular de 24 gones. Luego dibujamos líneas de tríadas separadas por un paso, y también de cada tríada mayor a su tríada menor paralela, y obtenemos una imagen geométrica de la gráfica regular en cuestión, que modela satisfactoriamente las relaciones triádicas en 12 temperamentos iguales.

[[:en:Archivo:Chordal12.svg]]

Podemos obtener imágenes muy similares para cualquiera de los otros temperamentos iguales que apoyan el uso de [[:en:meantone temperament]], incluyendo en particular [[19 EDO]] y [[31 EDO]], dibujando un 38-gon o un 62-gon respectivamente, y uniendo todos los acordes separados por un paso, y la mitad correcta separada por siete pasos.

Se puede considerar que la presencia de ciclos, o caminos de bucle cerrado, en estos espacios cordales cíclicos es un defecto. Sin embargo, su eliminación no es necesaria ni deseable; de hecho, son el resultado de una característica fundamental del temperamento, a saber, las bombas de coma. Estos son ciclos de acordes que si se atraviesan en una entonación justa darían lugar a la modulación por un pequeño intervalo, o coma, pero que en la afinación del temperamento simplemente regresa a su punto de partida. El ciclo C-a-F-d-D-D-b-G-e-C es característico de la media naranja, por lo que es de esperar su presencia en estos espacios cordales cíclicos. El cierre del temperamento igual de 24 gones de 12 nos dice que la [[coma pitagórica]] ([[:en:Pythagorean comma]]) también está templada en este sistema; de hecho, es una bomba de coma para la coma pitagórica. El temperamento igual puede describirse como el temperamento con las comas sintética y pitagórica templadas, por lo que debemos encontrar y encontrar ambos tipos de bombas de comas. En otras palabras, esto no es un error, es una característica.

Los espacios cordales cíclicos no están de ninguna manera limitados a temperamentos iguales que soportan al meantone. Un examen del diagrama de 12 espacios cordales iguales mostrará que también podría describirse como un círculo de quintas, con tríadas mayores representadas por números pares y tríadas menores por números impares, de tal manera que por cada número par sumamos 17, y por cada número impar restamos 17, ambos módulo 24, y luego trazamos una línea entre los dos nodos. Esto se debe a que -7 modulo 24 es lo mismo que 17 modulo 24. Podemos hacer lo mismo en otros temperamentos iguales debidamente seleccionados, por ejemplo [[53 EDO]] ([[:en:53edo]]), y obtener un espacio de acordes correspondiente a [[:en:schismatic temperament]]. Sin embargo, esta no es la única manera de organizar las 106 tríadas de 53 iguales. Podemos igualmente empezar con la cadena -A-a-C-c-c-Eb-eb-...., y trazar una línea entre el nodo i y el nodo i+11 siempre que sea par, y entre i e i-11 siempre que sea impar. Esto produce un cuadro de 53 iguales dispuestos en términos de [[:en:hanson temperament]], lo que atempera el [http://en.wikipedia.org/wiki/Kleisma kleisma], o 15625/15552. Los dos gráficos son de hecho isomórficos, y así en un nivel más abstracto las dos imágenes son idénticas, pero como están representadas son bastante diferentes.

== Espacio cordal lineal ==

Si tomamos una cadena de acordes mayores y menores arreglados como arreglamos los acordes en un círculo de quintas, a saber, .... -d-F-a-C-e-G-b-D-..., y luego dibujamos bucles de las tríadas menores antes de los siete pasos de las tríadas mayores, obtenemos una imagen del espacio de acordes en genérico, o lógico, significada. Esta es una media naranja que no está sintonizada con un temperamento igual, de modo que el círculo no se cierra, como por ejemplo [[:en:quarter-comma meantone]]. Si hacemos lo mismo con los dos cuadros de temperamento igual discutidos en la sección anterior, ahora obtenemos dos espacios acordes lineales, uno basado en una cadena de quintos y el otro en una cadena de tercios menores. Estos dos espacios cordales son ahora ''no'' isomórficos, y representan espacio cordal para los temperamentos cismático y hanson respectivamente.

También podemos producir espacios cordales lineales y cíclicos para una armonía de límite superior, como la armonía septimal. Por ejemplo, podemos tomar las 144 tétradas septimales de [[72 EDO]] ([[:en:72edo]]), dispuestas de tal manera que a dos pasos de una tétrada [[:en:otonal]] nos lleve a otra tétrada otonal con la raíz 7 pasos de 72 igual de alta, y del mismo modo para las tétradas [[:en:utonal]]. Entonces podemos trazar líneas entre los acordes siempre que estén a uno, once o quince pasos de distancia. A diferencia de las tríadas, no tenemos que preocuparnos por los diferentes tipos de acordes para números pares e impares de pasos. Podemos desenrollar esta imagen de 72 iguales en un espacio cordal lineal para [[:en:miracle temperament]].

Traducido por: akallabeth@TheSubFactory

La carta regional de [[:en:Gottfried Weber]] representa el primer intento de definir las relaciones bidimensionales del espacio cordal de la entonación justa de cinco límites. Sin embargo, no fue concebido como un sistema para representar sólo la entonación, y por lo tanto tiene el mismo nombre de acorde que aparece en diferentes lugares. En la entonación pura y justa, estos serían acordes diferentes.

Comenzando con la imagen [http://en.wikipedia.org/wiki/Hexagonal_lattice hexagonal lattice] de cinco límites [[:en:modulatory space]], podemos llegar a una imagen más teóricamente satisfactoria del espacio cordal de cinco límites, que Lerdahl caracteriza como "neo-Riemannian". Las regiones triangulares equiláteras corresponden a tríadas, con la diferencia entre tríadas mayores y menores representadas por dos orientaciones diferentes. Tomando los puntos medios de estos triángulos como verticales, y dibujando un borde entre ellos si los triángulos comparten un lado (lo que significa que las tríadas correspondientes comparten un intervalo) podemos crear un mosaico del plano, llamado mosaico doble al mosaico de celosía hexagonal, que se conoce como [http://en.wikipedia.org/wiki/Hexagonal_tiling hexagonal tiling]. Cada vértice de este mosaico representa una tríada, y de cada vértice hay tres bordes cada 120 aparte de los otros, que se conectan a las tres tríadas que comparten un intervalo con la tríada dada. Las tres direcciones diferentes de los bordes corresponden a las tres "transformaciones neorrománicas": R", que conecta mayor a menor relativo, por ejemplo Do a a; "L", que conecta un acorde mayor a un acorde que contiene un tono principal, por ejemplo Do a Mi; y "P", que conecta una tríada mayor a su paralelo menor, por ejemplo Do a Do.

== Espacio acorde de siete límites ==

Si tomamos las tétradas [[:en:otonal]] y [[:en:utonal]]] tétradas de siete límites de entonación,

y dibujar un borde entre ellos si comparten un intervalo común, obtenemos el espacio cordal básico de la armonía de siete límites. Tiene la notable propiedad de formar un entramado; las tétradas están asociadas a triples de enteros (a, b, c), lo que define el [[:en:cubic lattice]], o entramado entero tridimensional. Si

a+b+c es un número par, la tétrada correspondiente es mayor con root

3^(-a+b+c)/2 5^(a-b+c)/2 7^(a+b-c)/2. Si a+b+c es impar, es menor, o utonal, con raíz

3^(-1-a+b+c)/2 5^(1+a-b+c)/2 7^(1+a+b-c)/2. Esta estructura muy regular es hasta cierto punto heredada por los espacios cordales cíclicos o lineales de siete límites, haciéndolos de alguna manera más regulares que los correspondientes espacios de cinco límites.

== Ver también ==

* [[:en:Pitch space]]
* [[:en:Modulatory space]]

== Enlaces externos ==

* [http://66.98.148.43/~xenharmo/sevlat.htm Seven-limit modulatory and chordal space] {{enlace muerto}} (Espacio modulador y cordal de siete límites)

== Referencias ==

* Lerdahl, Fred (2001). "Tonal Pitch Space", págs. 42-43. Oxford: Oxford University Press. ISBN 0195058348.
* Mathieu, W. A. (1997). "Experiencia armónica": Armonía tonal desde sus orígenes naturales hasta su expresión moderna''. Inner Traditions Intl Ltd. ISBN 0892815604.
* [https://category.wikispaces.com/Music_theory Category:Music theory - Wikipedia] (en)
* [https://category.wikispaces.com/Pitch Category:Pitch - Wikipedia] (en)

Este artículo utiliza información de una versión antigua del artículo de Wikipedia del mismo nombre, eliminada no por estar equivocada sino por ser demasiado "original".

[[Categoría:matemáticas]]
[[Categoría:teoría]]
[[Categoría:wikipedia-backup]]

&lt;!-- interwiki --&gt;
[[en:Chordal space]]</text>
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      <timestamp>2018-10-02T17:00:16Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>Página creada con «&lt;div style=" border:solid 2px #77b;  background-color: #ddf;  margin: 0 0 1em 0;  text-align: center; font-size: 150%; padding: 1em 2em; "&gt;Esta página ha sido traducida au…»</comment>
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border:solid 2px #77b; 
background-color: #ddf; 
margin: 0 0 1em 0; 
text-align: center;
font-size: 150%;
padding: 1em 2em;
"&gt;Esta página ha sido traducida automáticamente del artículo "[[:en:{{{1|Monzos}}}|{{{1|Monzos}}}]]" de la revista inglesa Xenwiki.&lt;/div&gt;&lt;includeonly&gt;[[Category:Auto-tranlated articles]]&lt;/includeonly&gt;&lt;noinclude&gt;todo: usage, expand by a not about review process[[Category:Templates]]&lt;/noinclude&gt;</text>
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      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
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      <comment>translated</comment>
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      <model>wikitext</model>
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border:solid 2px #77b; 
background-color: #ddf; 
margin: 0 0 1em 0; 
text-align: center;
font-size: 150%;
padding: 1em 2em;
"&gt;Esta página ha sido traducida automáticamente del artículo "[[:en:{{{1|Monzos}}}|{{{1|Monzos}}}]]" de la revista inglesa Xenwiki.&lt;/div&gt;&lt;includeonly&gt;[[Categoría:Páginas traducidas automáticamente]]&lt;/includeonly&gt;&lt;noinclude&gt;todo: usage, expand by a not about review process

[[Category:Plantillas]]&lt;/noinclude&gt;</text>
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      <timestamp>2018-10-11T09:14:31Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
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      <comment>changed how the template itself is presented</comment>
      <origin>246</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="552" sha1="pdb1wo021frqfvw4u4b756b5p9npjze" xml:space="preserve">&lt;div style="
border:solid 2px #77b; 
background-color: #ddf; 
margin: 0 0 1em 0; 
text-align: center;
font-size: 150%;
padding: 1em 2em;
"&gt;Esta página ha sido traducida automáticamente del artículo &lt;includeonly&gt;"[[:en:{{{1|{{{nombre|}}}}}}|{{{1|{{{nombre|}}}}}}]]"&lt;/includeonly&gt;&lt;noinclude&gt;"''&lt;code&gt;nombre de página&lt;/code&gt;''"&lt;/noinclude&gt; de la revista inglesa Xenwiki.&lt;/div&gt;&lt;includeonly&gt;[[Categoría:Páginas traducidas automáticamente]]&lt;/includeonly&gt;&lt;noinclude&gt;todo: usage, expand by a not about review process

[[Category:Plantillas]]&lt;/noinclude&gt;</text>
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    <title>Plantilla:Enlace muerto</title>
    <ns>10</ns>
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    <revision>
      <id>225</id>
      <timestamp>2018-10-02T17:09:32Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>dead link marker</comment>
      <origin>225</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="144" sha1="4pt752qhpbt6lsytbl7088o3ko68um3" xml:space="preserve">&lt;sup&gt;[enlace muerto]&lt;/sup&gt;&lt;includeonly&gt;[[Categoría:Páginas con enlaces muertos]]&lt;/includeonly&gt;&lt;noinclude&gt;[[Categoría:Plantillas]]&lt;/noinclude&gt;</text>
      <sha1>4pt752qhpbt6lsytbl7088o3ko68um3</sha1>
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    <revision>
      <id>226</id>
      <parentid>225</parentid>
      <timestamp>2018-10-02T17:10:14Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>Xenwolf trasladó la página [[Plantilla:Dead link]] a [[Plantilla:Enlace muerto]]: translated into Spanish</comment>
      <origin>226</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="144" sha1="4pt752qhpbt6lsytbl7088o3ko68um3" xml:space="preserve">&lt;sup&gt;[enlace muerto]&lt;/sup&gt;&lt;includeonly&gt;[[Categoría:Páginas con enlaces muertos]]&lt;/includeonly&gt;&lt;noinclude&gt;[[Categoría:Plantillas]]&lt;/noinclude&gt;</text>
      <sha1>4pt752qhpbt6lsytbl7088o3ko68um3</sha1>
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    <revision>
      <id>230</id>
      <parentid>226</parentid>
      <timestamp>2018-10-02T17:15:24Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>link into category</comment>
      <origin>230</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="189" sha1="inl4gl19i944whfm1q68nbjvxdp0oz1" xml:space="preserve">&lt;sup&gt;[[:Categoría:Páginas con enlaces muertos|[enlace muerto]]]&lt;/sup&gt;&lt;includeonly&gt;[[Categoría:Páginas con enlaces muertos]]&lt;/includeonly&gt;&lt;noinclude&gt;[[Categoría:Plantillas]]&lt;/noinclude&gt;</text>
      <sha1>inl4gl19i944whfm1q68nbjvxdp0oz1</sha1>
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    <revision>
      <id>231</id>
      <parentid>230</parentid>
      <timestamp>2018-10-02T17:23:43Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>usage hint added</comment>
      <origin>231</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="394" sha1="6unmd6k065824dmoge74igl1f6y2b85" xml:space="preserve">&lt;sup&gt;[[:Categoría:Páginas con enlaces muertos|[enlace muerto]]]&lt;/sup&gt;&lt;includeonly&gt;[[Categoría:Páginas con enlaces muertos]]&lt;/includeonly&gt;&lt;noinclude&gt;

Si encuentra un enlace externo muerto en una página, intente repararlo. Si no es posible: marcarlo añadiéndole &lt;code&gt;&lt;nowiki&gt;{{enlace muerto}}&lt;/nowiki&gt;&lt;/code&gt;.

[[Categoría:Plantillas]]

&lt;!-- interwiki --&gt;
[[en:dead link]]

&lt;/noinclude&gt;</text>
      <sha1>6unmd6k065824dmoge74igl1f6y2b85</sha1>
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    <revision>
      <id>233</id>
      <parentid>231</parentid>
      <timestamp>2018-10-02T17:26:22Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>interwiki linkfix</comment>
      <origin>233</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="403" sha1="dw6e3z2y2jmmyucpbk4ka7f5h0oajtj" xml:space="preserve">&lt;sup&gt;[[:Categoría:Páginas con enlaces muertos|[enlace muerto]]]&lt;/sup&gt;&lt;includeonly&gt;[[Categoría:Páginas con enlaces muertos]]&lt;/includeonly&gt;&lt;noinclude&gt;

Si encuentra un enlace externo muerto en una página, intente repararlo. Si no es posible: marcarlo añadiéndole &lt;code&gt;&lt;nowiki&gt;{{enlace muerto}}&lt;/nowiki&gt;&lt;/code&gt;.

[[Categoría:Plantillas]]

&lt;!-- interwiki --&gt;
[[en:Template:dead link]]

&lt;/noinclude&gt;</text>
      <sha1>dw6e3z2y2jmmyucpbk4ka7f5h0oajtj</sha1>
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  <page>
    <title>Plantilla:Dead link</title>
    <ns>10</ns>
    <id>68</id>
    <redirect title="Plantilla:Enlace muerto" />
    <revision>
      <id>227</id>
      <timestamp>2018-10-02T17:10:14Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>Xenwolf trasladó la página [[Plantilla:Dead link]] a [[Plantilla:Enlace muerto]]: translated into Spanish</comment>
      <origin>227</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="41" sha1="ssu09nnuroz3qf86zycxr1dege6ty3g" xml:space="preserve">#REDIRECCIÓN [[Plantilla:Enlace muerto]]</text>
      <sha1>ssu09nnuroz3qf86zycxr1dege6ty3g</sha1>
    </revision>
  </page>
  <page>
    <title>Categoría:Páginas con enlaces muertos</title>
    <ns>14</ns>
    <id>69</id>
    <revision>
      <id>232</id>
      <timestamp>2018-10-02T17:25:24Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>usage hint added</comment>
      <origin>232</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="162" sha1="35hdub8p4tplvpmz7cnk8ns7dhxyd11" xml:space="preserve">Si encuentra un enlace externo muerto en una página, intente repararlo. Si no es posible: marcarlo añadiéndole &lt;code&gt;&lt;nowiki&gt;{{enlace muerto}}&lt;/nowiki&gt;&lt;/code&gt;.</text>
      <sha1>35hdub8p4tplvpmz7cnk8ns7dhxyd11</sha1>
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  </page>
  <page>
    <title>Monzo(Esp)</title>
    <ns>0</ns>
    <id>70</id>
    <redirect title="Monzo" />
    <revision>
      <id>237</id>
      <timestamp>2018-10-02T17:31:00Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>Xenwolf trasladó la página [[Monzo(Esp)]] a [[Monzo]]: all pages here are Esp</comment>
      <origin>237</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="23" sha1="23viuid69qa7w9idmqltsqsk6ayjbqw" xml:space="preserve">#REDIRECCIÓN [[Monzo]]</text>
      <sha1>23viuid69qa7w9idmqltsqsk6ayjbqw</sha1>
    </revision>
  </page>
  <page>
    <title>Usuario discusión:Xenwolf</title>
    <ns>3</ns>
    <id>71</id>
    <revision>
      <id>240</id>
      <timestamp>2018-10-02T18:39:05Z</timestamp>
      <contributor>
        <username>PG's sock that dumps pages here</username>
        <id>5</id>
      </contributor>
      <comment>Página creada con «Hi! Are you inspired by me, also not speaking Spanish? ~~~~»</comment>
      <origin>240</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="233" sha1="4eml3otaezpsvx86xjqsfi3bv2p9af4" xml:space="preserve">Hi! Are you inspired by me, also not speaking Spanish? [[Usuario:PG&amp;#39;s sock that dumps pages here|PG&amp;#39;s sock that dumps pages here]] ([[Usuario discusión:PG&amp;#39;s sock that dumps pages here|discusión]]) 18:39 2 oct 2018 (UTC)</text>
      <sha1>4eml3otaezpsvx86xjqsfi3bv2p9af4</sha1>
    </revision>
    <revision>
      <id>242</id>
      <parentid>240</parentid>
      <timestamp>2018-10-02T18:51:24Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>re (I'm really in a hurry)</comment>
      <origin>242</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="381" sha1="8hoh2qna2zeo9cj0izccp5j0owgftew" xml:space="preserve">Hi! Are you inspired by me, also not speaking Spanish? [[Usuario:PG&amp;#39;s sock that dumps pages here|PG&amp;#39;s sock that dumps pages here]] ([[Usuario discusión:PG&amp;#39;s sock that dumps pages here|discusión]]) 18:39 2 oct 2018 (UTC)
: Sorry, I've currently no time left. Best regards --[[Usuario:Xenwolf|Xenwolf]] ([[Usuario discusión:Xenwolf|discusión]]) 18:51 2 oct 2018 (UTC)</text>
      <sha1>8hoh2qna2zeo9cj0izccp5j0owgftew</sha1>
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  <page>
    <title>Categoría:Teoría</title>
    <ns>14</ns>
    <id>72</id>
    <revision>
      <id>245</id>
      <timestamp>2018-10-11T09:04:58Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>+interwiki de, en</comment>
      <origin>245</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="66" sha1="gyer6ov3xb5s3lcodfc3i36y2sx2t59" xml:space="preserve">&lt;!-- interwiki --&gt;
[[de:Kategorie:Theorie]]
[[en:Category:Theory]]</text>
      <sha1>gyer6ov3xb5s3lcodfc3i36y2sx2t59</sha1>
    </revision>
    <revision>
      <id>314</id>
      <parentid>245</parentid>
      <timestamp>2020-06-07T19:09:56Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>interwiki via template</comment>
      <origin>314</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="96" sha1="mavbjy15scxnquomkgzxpuuobyalf5m" xml:space="preserve">{{interwiki
| de = Kategorie:Theorie
| en = Category:Theory
| es = Categoría:Teoría
| ja = 
}}</text>
      <sha1>mavbjy15scxnquomkgzxpuuobyalf5m</sha1>
    </revision>
  </page>
  <page>
    <title>Categoría:Plantillas</title>
    <ns>14</ns>
    <id>73</id>
    <revision>
      <id>248</id>
      <timestamp>2018-10-11T09:27:22Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>summary, interwiki de, en</comment>
      <origin>248</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="148" sha1="pxun56eil8m7etzbb8f3p2yhpilhcte" xml:space="preserve">Una vista general de todas las [[Ayuda:Plantillas|plantillas]] de este Wiki.

&lt;!-- interwiki --&gt;
[[de:Kategorie:Vorlagen]]
[[en:Category:Templates]]</text>
      <sha1>pxun56eil8m7etzbb8f3p2yhpilhcte</sha1>
    </revision>
  </page>
  <page>
    <title>Categoría:Matemáticas</title>
    <ns>14</ns>
    <id>74</id>
    <revision>
      <id>249</id>
      <timestamp>2018-10-11T09:35:24Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>+cat, +interwiki de, en</comment>
      <origin>249</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="89" sha1="ig6exau4f4waswc4n9uk4n0rydi1s9w" xml:space="preserve">[[Category:Teoría]]

&lt;!-- interwiki --&gt;
[[de:Kategorie:Mathematik]]
[[en:Category:Math]]</text>
      <sha1>ig6exau4f4waswc4n9uk4n0rydi1s9w</sha1>
    </revision>
  </page>
  <page>
    <title>Categoría:Páginas con enlaces rotos a archivos</title>
    <ns>14</ns>
    <id>75</id>
    <revision>
      <id>250</id>
      <timestamp>2018-10-11T09:38:18Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>+cat</comment>
      <origin>250</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="19" sha1="1v1pqou9qflcf9kjqun4kgsdvp48h90" xml:space="preserve">[[Categoría:todo]]</text>
      <sha1>1v1pqou9qflcf9kjqun4kgsdvp48h90</sha1>
    </revision>
  </page>
  <page>
    <title>Categoría:Todo</title>
    <ns>14</ns>
    <id>76</id>
    <revision>
      <id>251</id>
      <timestamp>2018-10-11T09:45:43Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>texto, interwiki de, en</comment>
      <origin>251</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="127" sha1="71kkgylu2vr3o1s9d8nw9tb60zlos8z" xml:space="preserve">Directorio de páginas wiki que todavía tienen mucho que hacer.

&lt;!-- interwiki --&gt;
[[de:Kategorie:Todo]]
[[en:Category:Todo]]</text>
      <sha1>71kkgylu2vr3o1s9d8nw9tb60zlos8z</sha1>
    </revision>
  </page>
  <page>
    <title>Categoría:Edo</title>
    <ns>14</ns>
    <id>77</id>
    <revision>
      <id>252</id>
      <timestamp>2018-10-11T09:53:29Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>+texto; +interwiki de, en</comment>
      <origin>252</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="111" sha1="d6ichc9abx48tcpm79z9a925sq1hq9x" xml:space="preserve">Paginas sobre Equitativas Divisiones de la Octava.

&lt;!-- interwiki --&gt;
[[de:Kategorie:Edo]]
[[en:Category:Edo]]</text>
      <sha1>d6ichc9abx48tcpm79z9a925sq1hq9x</sha1>
    </revision>
    <revision>
      <id>303</id>
      <parentid>252</parentid>
      <timestamp>2018-11-02T08:53:09Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>de: case change</comment>
      <origin>303</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="111" sha1="il0r4jqusm32pmr75wtxlu64zbbqn2s" xml:space="preserve">Paginas sobre Equitativas Divisiones de la Octava.

&lt;!-- interwiki --&gt;
[[de:Kategorie:EDO]]
[[en:Category:Edo]]</text>
      <sha1>il0r4jqusm32pmr75wtxlu64zbbqn2s</sha1>
    </revision>
  </page>
  <page>
    <title>MediaWiki:Sidebar</title>
    <ns>8</ns>
    <id>78</id>
    <revision>
      <id>261</id>
      <timestamp>2018-10-13T01:46:32Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>moved LANGUAGES up</comment>
      <origin>261</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="158" sha1="j7jv1g2w2u8bxj6lanvep0fdvnnz6pv" xml:space="preserve">
* navigation
** mainpage|mainpage-description
** recentchanges-url|recentchanges
** randompage-url|randompage
** helppage|help
* LANGUAGES
* SEARCH
* TOOLBOX</text>
      <sha1>j7jv1g2w2u8bxj6lanvep0fdvnnz6pv</sha1>
    </revision>
    <revision>
      <id>277</id>
      <parentid>261</parentid>
      <timestamp>2018-10-14T21:06:32Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>testing ...</comment>
      <origin>277</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="166" sha1="17m96zg3o8nteqzf4o8ta5etwrlklsz" xml:space="preserve">
* navigation
** mainpage|mainpage-description
** recentchanges-url|recentchanges
** randompage-url|randompage
** helppage|help
* LANGUAGES|En o...
* SEARCH
* TOOLBOX</text>
      <sha1>17m96zg3o8nteqzf4o8ta5etwrlklsz</sha1>
    </revision>
    <revision>
      <id>278</id>
      <parentid>277</parentid>
      <timestamp>2018-10-14T21:06:56Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>... testing done.</comment>
      <origin>278</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="158" sha1="j7jv1g2w2u8bxj6lanvep0fdvnnz6pv" xml:space="preserve">
* navigation
** mainpage|mainpage-description
** recentchanges-url|recentchanges
** randompage-url|randompage
** helppage|help
* LANGUAGES
* SEARCH
* TOOLBOX</text>
      <sha1>j7jv1g2w2u8bxj6lanvep0fdvnnz6pv</sha1>
    </revision>
  </page>
  <page>
    <title>Plantilla:Interwiki</title>
    <ns>10</ns>
    <id>79</id>
    <revision>
      <id>265</id>
      <timestamp>2018-10-13T23:16:22Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>ported from DE version, todo translation</comment>
      <origin>265</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1724" sha1="a7v0m90fdp1h8840otaze55dgipe9yc" xml:space="preserve">&lt;div style="
border: 1px solid lightgrey; 
margin: 0 0 1em 2em; 
padding: 2px; 
display: block; 
float: right;
"&gt;{{#if: {{{ja|}}} |
  [[:en:{{{ja|}}}|日本語]] |
}}&lt;/div&gt;{{#if: {{{de|}}} |
  [[de:{{{de}}}]] |
}}{{#if: {{{en|}}} |
  [[en:{{{en}}}]] |
}}{{#if: {{{es|}}} |
  {{#ifeq: {{{es}}} | {{PAGENAME}} | &lt;!-- Links auf dieselbe Seite unterbinden --&gt; |
    [[{{{es}}}]]
  }} |
}}&lt;noinclude&gt;

&lt;big&gt;'''todo translate from DE into ES'''&lt;/big&gt;

Diese Vorlage regelt die Verarbeitung Interwiki-Links im deutschen Wiki.

Folgende Parameter werden unterstützt:

{| class="wikitable"
! Name !! Optionaler Wert und Anmerkungen
|-
| de || Seitename im deutschen Wiki
|-
| en || Seitename im englischen Wiki 
|-
| es || Seitename im spanischen Wiki 
|-
| ja || Name der japanischen Seite im englischen Wiki 
|}

Es ist sinnvoll auch den de-Parameter zu belegen, damit kann dieser Abschnitt zwischen den Wikis ausgetauscht werden.
Alle Parameter sind als reine Seitennamen anzugeben, also ohne Präfixe und ohne eckige Klammern.
Der Wert hinter den Parametern kann einfach weggelassen, wo noch keine entsprechende Seite existiert.

Hier die Benutzung am Beispiel der [[12 EDO]]-Seite:
 &lt;nowiki&gt;{{interwiki&lt;/nowiki&gt;
 | de = 12edo
 | en = 12edo
 | es = 12 EDO
 | ja = 12平均律
 &lt;nowiki&gt;}}&lt;/nowiki&gt;

Hier eine leere Kopiervorlage mit allen Parametern in alphabetischer Reihenfolge:
 &lt;nowiki&gt;{{interwiki&lt;/nowiki&gt;
 | de = 
 | en = 
 | es = 
 | ja = 
 &lt;nowiki&gt;}}&lt;/nowiki&gt;

Für Links auf japanische Seiten im englischen Xenwiki wird eine Box eingeblendet, die restlichen Sprachen werden im ''MediaWiki-Sidebar'' angezeigt.

[[Categoría:Plantillas]]

&lt;!-- interwiki --&gt;
[[de:Vorlage:Interwiki]]
[[en:Template:Interwiki]]
&lt;/noinclude&gt;</text>
      <sha1>a7v0m90fdp1h8840otaze55dgipe9yc</sha1>
    </revision>
    <revision>
      <id>271</id>
      <parentid>265</parentid>
      <timestamp>2018-10-14T20:39:18Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>removed div, enabled links back into es if needed (track misspellings), completely removed div</comment>
      <origin>271</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1445" sha1="ns2vq0t76s1jo2bwuy32s9k4m91c0ub" xml:space="preserve">{{#if: {{{de|}}} |
  [[de:{{{de}}}]] |
}}{{#if: {{{en|}}} |
  [[en:{{{en}}}]] |
}}{{#if: {{{es|}}} |
  {{#ifeq: {{{es}}} | {{PAGENAME}} | &lt;!-- Links auf dieselbe Seite unterbinden --&gt; |
    [[es:{{{es}}}]]
  }} |
}}{{#if: {{{ja|}}} |
  [[ja:{{{ja}}}]] |
}}&lt;noinclude&gt;

&lt;big&gt;'''todo translate from DE into ES'''&lt;/big&gt;

Diese Vorlage regelt die Verarbeitung Interwiki-Links im deutschen Wiki.

Folgende Parameter werden unterstützt:

{| class="wikitable"
! Name !! Optionaler Wert und Anmerkungen
|-
| de || Seitename im deutschen Wiki
|-
| en || Seitename im englischen Wiki 
|-
| es || Seitename im spanischen Wiki 
|-
| ja || Name der japanischen Seite im englischen Wiki 
|}

Es ist sinnvoll auch den de-Parameter zu belegen, damit kann dieser Abschnitt zwischen den Wikis ausgetauscht werden.
Alle Parameter sind als reine Seitennamen anzugeben, also ohne Präfixe und ohne eckige Klammern.
Der Wert hinter den Parametern kann einfach weggelassen, wo noch keine entsprechende Seite existiert.

Hier die Benutzung am Beispiel der [[12 EDO]]-Seite:
 &lt;nowiki&gt;{{interwiki&lt;/nowiki&gt;
 | de = 12edo
 | en = 12edo
 | es = 12 EDO
 | ja = 12平均律
 &lt;nowiki&gt;}}&lt;/nowiki&gt;

Hier eine leere Kopiervorlage mit allen Parametern in alphabetischer Reihenfolge:
 &lt;nowiki&gt;{{interwiki&lt;/nowiki&gt;
 | de = 
 | en = 
 | es = 
 | ja = 
 &lt;nowiki&gt;}}&lt;/nowiki&gt;

[[Categoría:Plantillas]]

&lt;!-- interwiki --&gt;
[[de:Vorlage:Interwiki]]
[[en:Template:Interwiki]]
&lt;/noinclude&gt;</text>
      <sha1>ns2vq0t76s1jo2bwuy32s9k4m91c0ub</sha1>
    </revision>
    <revision>
      <id>315</id>
      <parentid>271</parentid>
      <timestamp>2020-06-07T19:10:55Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>no self reference even for categories</comment>
      <origin>315</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="1449" sha1="hbvol1egmw3kwvkw93udp72xf20a7ii" xml:space="preserve">{{#if: {{{de|}}} |
  [[de:{{{de}}}]] |
}}{{#if: {{{en|}}} |
  [[en:{{{en}}}]] |
}}{{#if: {{{es|}}} |
  {{#ifeq: {{{es}}} | {{FULLPAGENAME}} | &lt;!-- Links auf dieselbe Seite unterbinden --&gt; |
    [[es:{{{es}}}]]
  }} |
}}{{#if: {{{ja|}}} |
  [[ja:{{{ja}}}]] |
}}&lt;noinclude&gt;

&lt;big&gt;'''todo translate from DE into ES'''&lt;/big&gt;

Diese Vorlage regelt die Verarbeitung Interwiki-Links im deutschen Wiki.

Folgende Parameter werden unterstützt:

{| class="wikitable"
! Name !! Optionaler Wert und Anmerkungen
|-
| de || Seitename im deutschen Wiki
|-
| en || Seitename im englischen Wiki 
|-
| es || Seitename im spanischen Wiki 
|-
| ja || Name der japanischen Seite im englischen Wiki 
|}

Es ist sinnvoll auch den de-Parameter zu belegen, damit kann dieser Abschnitt zwischen den Wikis ausgetauscht werden.
Alle Parameter sind als reine Seitennamen anzugeben, also ohne Präfixe und ohne eckige Klammern.
Der Wert hinter den Parametern kann einfach weggelassen, wo noch keine entsprechende Seite existiert.

Hier die Benutzung am Beispiel der [[12 EDO]]-Seite:
 &lt;nowiki&gt;{{interwiki&lt;/nowiki&gt;
 | de = 12edo
 | en = 12edo
 | es = 12 EDO
 | ja = 12平均律
 &lt;nowiki&gt;}}&lt;/nowiki&gt;

Hier eine leere Kopiervorlage mit allen Parametern in alphabetischer Reihenfolge:
 &lt;nowiki&gt;{{interwiki&lt;/nowiki&gt;
 | de = 
 | en = 
 | es = 
 | ja = 
 &lt;nowiki&gt;}}&lt;/nowiki&gt;

[[Categoría:Plantillas]]

&lt;!-- interwiki --&gt;
[[de:Vorlage:Interwiki]]
[[en:Template:Interwiki]]
&lt;/noinclude&gt;</text>
      <sha1>hbvol1egmw3kwvkw93udp72xf20a7ii</sha1>
    </revision>
  </page>
  <page>
    <title>MediaWiki:Otherlanguages</title>
    <ns>8</ns>
    <id>80</id>
    <revision>
      <id>275</id>
      <timestamp>2018-10-14T21:05:32Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>Página creada con «En otros idiomas»</comment>
      <origin>275</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="16" sha1="qlmnfhhokm6mljf8o7uvc7arb9cwnr2" xml:space="preserve">En otros idiomas</text>
      <sha1>qlmnfhhokm6mljf8o7uvc7arb9cwnr2</sha1>
    </revision>
    <revision>
      <id>276</id>
      <parentid>275</parentid>
      <timestamp>2018-10-14T21:05:52Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <origin>276</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="16" sha1="bz3srqupis7lal95q6qs3t28b19stnd" xml:space="preserve">en otros idiomas</text>
      <sha1>bz3srqupis7lal95q6qs3t28b19stnd</sha1>
    </revision>
    <revision>
      <id>279</id>
      <parentid>276</parentid>
      <timestamp>2018-10-14T21:08:03Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>Se ha deshecho la revisión 276 de [[Special:Contributions/Xenwolf|Xenwolf]] ([[User talk:Xenwolf|disc.]])</comment>
      <origin>279</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="16" sha1="qlmnfhhokm6mljf8o7uvc7arb9cwnr2" xml:space="preserve">En otros idiomas</text>
      <sha1>qlmnfhhokm6mljf8o7uvc7arb9cwnr2</sha1>
    </revision>
  </page>
  <page>
    <title>Plantilla:Monzo</title>
    <ns>10</ns>
    <id>81</id>
    <revision>
      <id>281</id>
      <timestamp>2018-10-14T22:12:32Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>adopted from EN version</comment>
      <origin>281</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="591" sha1="1nhp5e26q9iyd8y2yoww65pcyo75kcr" xml:space="preserve">&lt;includeonly&gt;&lt;span style="white-space: nowrap;"&gt;&amp;#124;{{{1|{{{text|0}}}}}}&amp;gt;&lt;/span&gt;&lt;/includeonly&gt;&lt;noinclude&gt;
:&lt;tt&gt;todo: translate into Spanish&lt;/tt&gt;
This template eases using the [[Monzo]] notation, because the pipe symbol (&lt;code&gt;&amp;#124;&lt;/code&gt;) controls specific wiki functions and the greater sign (&lt;code&gt;&amp;gt;&lt;/code&gt;) has a special meaning in HTML (and thus sometimes also in the wiki text).

Usage example:
 &lt;nowiki&gt;{{Monzo| -19 12 }}&lt;/nowiki&gt;

...will be rendered as

&amp;#124;-19 12&amp;gt;

[[Categoría:Plantillas]]

&lt;!-- interwiki --&gt;
[[de:Vorlage:Monzo]]
[[en:Template:Monzo]]
&lt;/noinclude&gt;</text>
      <sha1>1nhp5e26q9iyd8y2yoww65pcyo75kcr</sha1>
    </revision>
    <revision>
      <id>283</id>
      <parentid>281</parentid>
      <timestamp>2018-10-14T22:21:04Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>spaces are trimmed for named parameters not for positional ones</comment>
      <origin>283</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="589" sha1="4w3y8yyif0f4wuewx1c94g4d267t1d2" xml:space="preserve">&lt;includeonly&gt;&lt;span style="white-space: nowrap;"&gt;&amp;#124;{{{1|{{{text|0}}}}}}&amp;gt;&lt;/span&gt;&lt;/includeonly&gt;&lt;noinclude&gt;
:&lt;tt&gt;todo: translate into Spanish&lt;/tt&gt;
This template eases using the [[Monzo]] notation, because the pipe symbol (&lt;code&gt;&amp;#124;&lt;/code&gt;) controls specific wiki functions and the greater sign (&lt;code&gt;&amp;gt;&lt;/code&gt;) has a special meaning in HTML (and thus sometimes also in the wiki text).

Usage example:
 &lt;nowiki&gt;{{Monzo|-19 12}}&lt;/nowiki&gt;

...will be rendered as

&amp;#124;-19 12&amp;gt;

[[Categoría:Plantillas]]

&lt;!-- interwiki --&gt;
[[de:Vorlage:Monzo]]
[[en:Template:Monzo]]
&lt;/noinclude&gt;</text>
      <sha1>4w3y8yyif0f4wuewx1c94g4d267t1d2</sha1>
    </revision>
    <revision>
      <id>344</id>
      <parentid>283</parentid>
      <timestamp>2026-07-15T04:13:44Z</timestamp>
      <contributor>
        <username>Fredg999</username>
        <id>12</id>
      </contributor>
      <comment>Notación bra-ket, ejemplo con leyenda, interwiki plantilla</comment>
      <origin>344</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="825" sha1="p69obsgmm73st8y5y88nevdwcscmvh2" xml:space="preserve">&lt;includeonly&gt;{{#if: {{{legend|}}}|[[monzo]]:&amp;nbsp;}}&lt;span class="left-delim"&gt;&amp;#91;&lt;/span&gt;{{trim| {{{1|0}}} }}&lt;span class="right-delim"&gt;&amp;#x27E9;&lt;/span&gt;&lt;/includeonly&gt;&lt;noinclude&gt;
{{Interwiki
| de = Vorlage:Monzo
| en = Template:Monzo
| es = Plantilla:Monzo
}}
:&lt;tt&gt;todo: translate into Spanish&lt;/tt&gt;
This template eases using the [[Monzo]] notation using [[wikipedia:es:Notación bra-ket|bra-ket symbols]].

Note: Monzos are sometimes written informally with the pipe symbol (&lt;code&gt;&amp;#124;&lt;/code&gt;) and the greater sign (&lt;code&gt;&amp;gt;&lt;/code&gt;), but this template only uses bra-ket symbols.

== Usage ==
* &lt;code&gt;&lt;nowiki&gt;{{Monzo|-19 12}}&lt;/nowiki&gt;&lt;/code&gt; will be rendered as: {{Monzo|-19 12}}
* &lt;code&gt;&lt;nowiki&gt;{{Monzo|legend=1|-19 12}}&lt;/nowiki&gt;&lt;/code&gt; will be rendered as: {{Monzo|legend=1|-19 12}}

[[Categoría:Plantillas]]

&lt;/noinclude&gt;</text>
      <sha1>p69obsgmm73st8y5y88nevdwcscmvh2</sha1>
    </revision>
  </page>
  <page>
    <title>Archivo:Panequalc.png</title>
    <ns>6</ns>
    <id>82</id>
    <revision>
      <id>286</id>
      <timestamp>2018-09-12T07:24:31Z</timestamp>
      <contributor>
        <username>Maintenance script</username>
        <id>2</id>
      </contributor>
      <origin>286</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="0" sha1="phoiac9h4m842xq45sp7s6u21eteeq1" xml:space="preserve" />
      <sha1>phoiac9h4m842xq45sp7s6u21eteeq1</sha1>
    </revision>
    <revision>
      <id>287</id>
      <parentid>286</parentid>
      <timestamp>2018-10-15T11:13:25Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>1 revisión importada</comment>
      <origin>287</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="0" sha1="phoiac9h4m842xq45sp7s6u21eteeq1" xml:space="preserve" />
      <sha1>phoiac9h4m842xq45sp7s6u21eteeq1</sha1>
    </revision>
    <revision>
      <id>288</id>
      <parentid>287</parentid>
      <timestamp>2018-10-15T11:17:13Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>Xenwolf subió [[Archivo:Panequalc.png]]</comment>
      <origin>288</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="0" sha1="phoiac9h4m842xq45sp7s6u21eteeq1" xml:space="preserve" />
      <sha1>phoiac9h4m842xq45sp7s6u21eteeq1</sha1>
    </revision>
  </page>
  <page>
    <title>Usuario discusión:Hstraub</title>
    <ns>3</ns>
    <id>83</id>
    <revision>
      <id>295</id>
      <timestamp>2018-10-15T11:46:38Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>Sección nueva: /* Main page review */</comment>
      <origin>295</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="219" sha1="bwp4qmab5kxjgdvm6rseeihpmeu8xi9" xml:space="preserve">== Main page review ==

Hi Hans, can you have another look at [[Discusión:Página principal#Current_Discussion]]? Thanks --[[Usuario:Xenwolf|Xenwolf]] ([[Usuario discusión:Xenwolf|discusión]]) 11:46 15 oct 2018 (UTC)</text>
      <sha1>bwp4qmab5kxjgdvm6rseeihpmeu8xi9</sha1>
    </revision>
  </page>
  <page>
    <title>OrientacionGeneral</title>
    <ns>0</ns>
    <id>84</id>
    <redirect title="Orientación General" />
    <revision>
      <id>298</id>
      <timestamp>2018-10-15T12:19:54Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>Xenwolf trasladó la página [[OrientacionGeneral]] a [[Orientacion General]]: no need for WikiCase - BTW: WikiCase isn't even supported with the current settings</comment>
      <origin>298</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="37" sha1="jg0z0s97x2k2gjs5552q3re3or5cffn" xml:space="preserve">#REDIRECCIÓN [[Orientacion General]]</text>
      <sha1>jg0z0s97x2k2gjs5552q3re3or5cffn</sha1>
    </revision>
    <revision>
      <id>301</id>
      <parentid>298</parentid>
      <timestamp>2018-10-15T12:22:51Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <minor/>
      <comment>remove double redirect</comment>
      <origin>301</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="38" sha1="3k1luwemj41umseza1zfb53borqfrgn" xml:space="preserve">#REDIRECCIÓN [[Orientación General]]</text>
      <sha1>3k1luwemj41umseza1zfb53borqfrgn</sha1>
    </revision>
  </page>
  <page>
    <title>Orientacion General</title>
    <ns>0</ns>
    <id>85</id>
    <redirect title="Orientación General" />
    <revision>
      <id>300</id>
      <timestamp>2018-10-15T12:22:02Z</timestamp>
      <contributor>
        <username>Xenwolf</username>
        <id>6</id>
      </contributor>
      <comment>Xenwolf trasladó la página [[Orientacion General]] a [[Orientación General]]: corrected Spanisch</comment>
      <origin>300</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="38" sha1="3k1luwemj41umseza1zfb53borqfrgn" xml:space="preserve">#REDIRECCIÓN [[Orientación General]]</text>
      <sha1>3k1luwemj41umseza1zfb53borqfrgn</sha1>
    </revision>
  </page>
  <page>
    <title>MediaWiki:Autoblock whitelist</title>
    <ns>8</ns>
    <id>86</id>
    <revision>
      <id>308</id>
      <timestamp>2019-01-05T20:17:29Z</timestamp>
      <contributor>
        <username>Mike Battaglia</username>
        <id>3</id>
      </contributor>
      <comment>ip block whitelist</comment>
      <origin>308</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="56" sha1="p0vewhqczaczp532uayk0vdf8e72dey" xml:space="preserve">Local IPs:
* 10.0.0.0/8
* 172.16.0.0/12
* 192.168.0.0/16</text>
      <sha1>p0vewhqczaczp532uayk0vdf8e72dey</sha1>
    </revision>
  </page>
  <page>
    <title>Wiki Xenarmónico:Términos del servicio</title>
    <ns>4</ns>
    <id>87</id>
    <revision>
      <id>309</id>
      <timestamp>2019-03-20T20:20:04Z</timestamp>
      <contributor>
        <username>Tyler</username>
        <id>1</id>
      </contributor>
      <comment>Página creada con «See our Terms of Service by visiting https://en.xen.wiki/w/Xenharmonic_Wiki:Terms_of_Service»</comment>
      <origin>309</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="92" sha1="7uyk6hkm0d7et3pwvhs58anp6xjycpk" xml:space="preserve">See our Terms of Service by visiting https://en.xen.wiki/w/Xenharmonic_Wiki:Terms_of_Service</text>
      <sha1>7uyk6hkm0d7et3pwvhs58anp6xjycpk</sha1>
    </revision>
    <revision>
      <id>310</id>
      <parentid>309</parentid>
      <timestamp>2019-03-20T20:20:13Z</timestamp>
      <contributor>
        <username>Tyler</username>
        <id>1</id>
      </contributor>
      <minor/>
      <comment>Protegió «[[Wiki Xenarmónico:Términos del servicio]]» ([Editar=Solo administradores] (indefinido) [Trasladar=Solo administradores] (indefinido))</comment>
      <origin>310</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="92" sha1="7uyk6hkm0d7et3pwvhs58anp6xjycpk" xml:space="preserve">See our Terms of Service by visiting https://en.xen.wiki/w/Xenharmonic_Wiki:Terms_of_Service</text>
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      <comment>Ancient engraving of a monochord, with intervals indicated in Latin text.

Source: https://todoelorodelmundo.files.wordpress.com/2014/09/monocordio.jpg</comment>
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      <text bytes="165" sha1="29ycsu8af4wmkw8upkmr4otr4ro37bf" xml:space="preserve">== Resumen ==
Ancient engraving of a monochord, with intervals indicated in Latin text.

Source: https://todoelorodelmundo.files.wordpress.com/2014/09/monocordio.jpg</text>
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      <comment>Página creada con «&lt;includeonly&gt;{{safesubst:#if:1|{{{1|}}}}}&lt;/includeonly&gt;&lt;noinclude&gt; {{Interwiki | en = Template:Trim | es = Plantilla:Trim }} ''TODO: Add documentation in Spanish (see English page for reference)''  [[Categoría:Plantillas]] &lt;/noinclude&gt;»</comment>
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{{Interwiki
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| es = Plantilla:Trim
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''TODO: Add documentation in Spanish (see English page for reference)''

[[Categoría:Plantillas]]
&lt;/noinclude&gt;</text>
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      <comment>Fredg999 trasladó la página [[ImportPages]] a [[Wiki Xenarmónico:ImportPages]]: Espacio de nombre del proyecto</comment>
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  <page>
    <title>41edo</title>
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      <comment>Importada de la versión en inglés pero faltan un cojón de plantillas y nuevos artículos</comment>
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      <text bytes="23918" sha1="cy8hnyzw5k38tac6fq975q8bhm9cgvq" xml:space="preserve">{{interwiki
| de = 41-EDO
| en = 41edo
| es = 41edo
| ja =
}}41 divisiones iguales de la octava (abreviado 41edo o 41ed2), también 41tet o 41et (del inglés '''''41-(tone) equal temperament'''''), si visto desde la perspectiva de los temperamentos regulares, es el sistema de afinación que divide la octava en 41 partes iguales de unos 29.3¢ cada una. Cada parte representa un múltiplo de frecuencia de 2&lt;sup&gt;1/41&lt;/sup&gt;, o la 41era raíz de 2.

{{Infobox ET}}
{{Wikipedia| Temperamento igual de 41 divisiones }}

== Teoría ==
41edo es la segunda división igual más pequeña (después de [[29edo]]) cuya [[3/2|quinta perfecta]] está más cerca de la afinación justa que la de [[12edo]], y es el séptimo [[zeta integral edo|''zeta integral edo'']], después de [[31edo|31]]; sin embargo, no es un [[zeta gap edo|''zeta gap edo'']]. Esto tiene que ver con el hecho de que puede manejar bastante bien el [[11-limit]], y quizá el [[13-limit]]. De hecho, es [[consistent|consistente]] con el [[15-odd-limit]], o el [[21-odd-limit]] sin 17. ''Todos'' sus intervalos entre 100 y 1100 centavos de tamaño son consonancias del [[15-odd-limit]], aunque su [[~]][[13/10]] está 14 centavos agudo y posiblemente se manifiesta como [[21/16]] en lugar de 13/10.

41edo es quizá la edo más pequeña con un modelo satisfactorio del [[9-odd-limit]], no solo porque es la más pequeña en afinar el 9-odd-limit de manera distintivamente consistente, sino que también es [[consistency #Consistency to distance d|consistente a distancia 2]]. En otras palabras, todos los intervalos en el 9-odd-limit están más afinados que desafinados. También es el primer edo que iguala o mejora la precisión de 12edo para cada armónico hasta el 16.º, y ningún intervalo del [[11-odd-limit]] excepto [[11/10]] y [[20/11]] se representa con más de 10 cents de error en ella. Aparte del 13-limit completo, es aún más prominente como temperamento del subgrupo 2.3.5.7.11.19.29.31 para su tamaño.

41edo se usa en la [[Kite Guitar]], véase más abajo en [[#Instrumentos]].

=== Armónicos primos ===
{{Harmonics in equal|41|columns=11}}
{{Harmonics in equal|41|columns=11|start=12|collapsed=true|title=Aproximación de armónicos primos en 41edo (continuación)}}

=== Como afinación de otros temperamentos ===
41edo puede verse como una afinación del [[temperamento mágico]], así como [[superkleismic]], [[garibaldi]], [[miracle]] y múltiples temperamentos de la [[familia tetracot]].

Varias extensiones [[13-limit]] del [[temperamento mágico]] son soportadas por 41: el magic de 13-limit, y con menos éxito necromancy y witchcraft; todas se fusionan en una sola en la afinación de 41edo. El val 41f proporciona una afinación excelente para sorcery, dando una versión menos compleja del 13-limit, y el val 41ef funciona bien para telepathy; sin embargo, telepathy y sorcery se fusionan en una sola no en 41edo sino en [[22edo]].

41edo también es una gran afinación de [[tetracot]], y funciona como alternativa a [[34edo]], proporcionando aproximaciones adecuadas al 7.º y 11.º armónico a costa del 13.º, y soportando simultáneamente [[monkey]], [[bunya]] y [[octacot]]. Los tres se extienden al [[11-limit]] interpretando el [[10/9]] bemol como un [[11/10]] al temperar [[100/99]]. Esta equivalencia es especialmente útil en 41edo, donde este tono entero bemol de coma (también conocido como el segundo de Tetracot[7]) puede interpretarse con mayor precisión como [[21/19]] —que se equipara con [[32/29]] sobre [[31/28]] abajo (ambos muy cercanos)—, lo que explica la precisión de los primos [[29/1|29]] y [[31/1|31]], haciendo de 41edo una elección única y versátil para interpretar la armonía de tetracot.

Un paso de 41edo está cerca y se mapea consistentemente a [[64/63]], la coma septimal.

=== Subconjuntos y superconjuntos ===
41edo es la 13.ª [[edo prima]], después de [[37edo]] y antes de [[43edo]]. No contiene edos subconjuntos no triviales, aunque contiene [[41ed4]]. Aunque no son técnicamente subconjuntos, esencialmente contiene [[88cET]] cada tercer paso y [[13edt]] cada quinto paso.

[[205edo]], que divide cada paso de 41edo en cinco, corrige algunas aproximaciones de 41edo a calidad casi justa. Por ello, 41edo forma la base del [http://www.h-pi.com/theory/huntsystem1.html H-System], que usa los grados de escala de 41edo como los intervalos básicos del [[13-limit]] que requieren afinación fina de ±1 [http://www.h-pi.com/theory/huntsystem2.html JND promedio] desde el círculo de 41edo en 205edo. Su paso de 1\205 se llama ''mem''.

[[2460edo]] tiene potencial para un análogo de [[Cent|cents]] en 41edo. Divide el paso de 41edo en 60 partes iguales, y 60 es un número altamente compuesto (antiprimo), por lo que contiene muchos otros múltiplos de 41edo, incluyendo 205edo, y también contiene [[12edo]] entre otras afinaciones iguales. Representa con precisión el [[14afdo|modo 14 de la serie armónica]], ya que es consistente hasta el 27-odd-limit. Esto permite desafinaciones precisas en un marco de 41 tonos para aproximar mejor la afinación justa pura, especialmente para algunos armónicos superiores. Su paso de 1\2460 se llama ''mina''.

== Intervalos ==
{| class="wikitable center-1 right-2"
|-
! #
! Centavos
! Razones aproximadas*
|-
| 0
| 0.0
| [[1/1]]
|-
| 1
| 29.3
| [[49/48]], [[50/49]], [[64/63]], [[81/80]]
|-
| 2
| 58.5
| [[25/24]], [[28/27]], [[33/32]], [[36/35]]
|-
| 3
| 87.8
| [[19/18]], [[20/19]], [[21/20]], [[22/21]]
|-
| 4
| 117.1
| [[14/13]], [[15/14]], [[16/15]]
|-
| 5
| 146.3
| [[12/11]], [[13/12]]
|-
| 6
| 175.6
| [[10/9]], [[11/10]], [[21/19]]
|-
| 7
| 204.9
| [[9/8]]
|-
| 8
| 234.1
| [[8/7]], [[15/13]]
|-
| 9
| 263.4
| [[7/6]], [[22/19]]
|-
| 10
| 292.7
| [[13/11]], [[19/16]], [[32/27]]
|-
| 11
| 322.0
| [[6/5]]
|-
| 12
| 351.2
| [[11/9]], [[16/13]]
|-
| 13
| 380.5
| [[5/4]], [[26/21]]
|-
| 14
| 409.8
| [[14/11]], [[19/15]], [[24/19]]
|-
| 15
| 439.0
| [[9/7]], [[32/25]]
|-
| 16
| 468.3
| [[21/16]], [[13/10]]
|-
| 17
| 497.6
| [[4/3]]
|-
| 18
| 526.8
| [[15/11]], [[19/14]], [[27/20]]
|-
| 19
| 556.1
| [[11/8]], [[18/13]], [[26/19]]
|-
| 20
| 585.4
| [[7/5]], [[45/32]]
|-
| 21
| 614.6
| [[10/7]], [[64/45]]
|-
| 22
| 643.9
| [[13/9]], [[16/11]], [[19/13]]
|-
| 23
| 673.2
| [[22/15]], [[28/19]], [[40/27]]
|-
| 24
| 702.4
| [[3/2]]
|-
| 25
| 731.7
| [[20/13]], [[32/21]]
|-
| 26
| 761.0
| [[14/9]], [[25/16]]
|-
| 27
| 790.2
| [[11/7]], [[19/12]], [[30/19]]
|-
| 28
| 819.5
| [[8/5]], [[21/13]]
|-
| 29
| 848.8
| [[13/8]], [[18/11]]
|-
| 30
| 878.0
| [[5/3]]
|-
| 31
| 907.3
| [[22/13]], [[27/16]], [[32/19]]
|-
| 32
| 936.6
| [[12/7]], [[19/11]]
|-
| 33
| 965.9
| [[7/4]], [[26/15]]
|-
| 34
| 995.1
| [[16/9]]
|-
| 35
| 1024.4
| [[9/5]], [[20/11]], [[38/21]]
|-
| 36
| 1053.7
| [[11/6]], [[24/13]]
|-
| 37
| 1082.9
| [[13/7]], [[15/8]], [[28/15]]
|-
| 38
| 1112.2
| [[19/10]], [[21/11]], [[36/19]], [[40/21]]
|-
| 39
| 1141.5
| [[27/14]], [[35/18]], [[48/25]], [[64/33]]
|-
| 40
| 1170.7
| [[49/25]], [[63/32]], [[96/49]], [[160/81]]
|-
| 41
| 1200.0
| [[2/1]]
|}
&lt;nowiki&gt;*&lt;/nowiki&gt;Tratando 41edo como temperamento del subgrupo 2.3.5.7.11.13.19; otros enfoques son posibles.

=== Nombres de intervalos propuestos y solfeos ===
{| class="wikitable center-all right-2 left-3 left-6 mw-collapsible mw-collapsed"
|+ style="white-space: nowrap;" | Tabla de nombres de intervalos propuestos y solfeos
|-
! #
! Centavos
! colspan="3" | [[Notación ups-and-downs]]
! Solfeggio de Kite
! Solfeggio de Andrew
|-
| 0
| 0.0
| unísono
| P1
| D
| Da
| Do
|-
| 1
| 29.3
| unísono arriba
| ^1
| ^D
| Du
| Di
|-
| 2
| 58.5
| unísono 2arriba, segunda menor abajo
| ^^1, vm2
| ^^D, vEb
| Fro
| Ro
|-
| 3
| 87.8
| unísono aumentado abajo, segunda menor
| vA1, m2
| vD#, Eb
| Fra
| Rih
|-
| 4
| 117.1
| unísono aumentado abajo, segunda menor arriba
| A1, ^m2
| D#, ^Eb
| Fru
| Ra
|-
| 5
| 146.3
| segunda media
| ~2
| ^D#, vvE
| Ri
| Ru
|-
| 6
| 175.6
| segunda mayor abajo
| vM2
| vE
| Ro
| Reh
|-
| 7
| 204.9
| segunda mayor
| M2
| E
| Ra
| Re
|-
| 8
| 234.1
| segunda mayor arriba
| ^M2
| ^E
| Ru
| Ri
|-
| 9
| 263.4
| tercera menor abajo
| vm3
| vF
| No
| Ma
|-
| 10
| 292.7
| tercera menor
| m3
| F
| Na
| Meh
|-
| 11
| 322.0
| tercera menor arriba
| ^m3
| ^F
| Nu
| Me
|-
| 12
| 351.2
| tercera media
| ~3
| ^^F, vGb
| Mi
| Mu
|-
| 13
| 380.5
| tercera mayor abajo
| vM3
| vF#, Gb
| Mo
| Mi
|-
| 14
| 409.8
| tercera mayor
| M3
| F#, ^Gb
| Ma
| Maa
|-
| 15
| 439.0
| tercera mayor arriba
| ^M3
| ^F#, vvG
| Mu
| Mo
|-
| 16
| 468.3
| cuarta abajo
| v4
| vG
| Fo
| Fe
|-
| 17
| 497.6
| cuarta perfecta
| P4
| G
| Fa
| Fa
|-
| 18
| 526.8
| cuarta arriba
| ^4
| ^G
| Fu
| Fih
|-
| 19
| 556.1
| cuarta media, quinta disminuida abajo
| ~4, vd5
| ^^G, vAb
| Fi/Sho
| Fu
|-
| 20
| 585.4
| cuarta aumentada abajo, quinta disminuida
| vA4, d5
| vG#, Ab
| Po/Sha
| Fi
|-
| 21
| 614.6
| cuarta aumentada, quinta disminuida arriba
| A4, ^d5
| G#, ^Ab
| Pa/Shu
| Se
|-
| 22
| 643.9
| quinta media, cuarta aumentada arriba
| ~5, ^A4
| ^G#, vvA
| Pu/Si
| Su
|-
| 23
| 673.2
| quinta abajo
| v5
| vA
| So
| Sih
|-
| 24
| 702.4
| quinta perfecta
| P5
| A
| Sa
| Sol
|-
| 25
| 731.7
| quinta arriba
| ^5
| ^A
| Su
| Si
|-
| 26
| 761.0
| sexta menor abajo
| vm6
| ^^A, vBb
| Flo
| Lo
|-
| 27
| 790.2
| sexta menor
| m6
| vA#, Bb
| Fla
| Leh
|-
| 28
| 819.5
| sexta menor arriba
| ^m6
| A#, ^Bb
| Flu
| Le
|-
| 29
| 848.8
| sexta media
| ~6
| ^A#, vvB
| Li
| Lu
|-
| 30
| 878.0
| sexta mayor abajo
| vM6
| vB
| Lo
| La
|-
| 31
| 907.3
| sexta mayor
| M6
| B
| La
| Laa
|-
| 32
| 936.6
| sexta mayor arriba
| ^M6
| ^B
| Lu
| Li
|-
| 33
| 965.9
| séptima menor abajo
| vm7
| vC
| Tho
| Ta
|-
| 34
| 995.1
| séptima menor
| m7
| C
| Tha
| Teh
|-
| 35
| 1024.4
| séptima menor arriba
| ^m7
| ^C
| Thu
| Te
|-
| 36
| 1053.7
| séptima media
| ~7
| ^^C, vDb
| Ti
| Tu
|-
| 37
| 1082.9
| séptima mayor abajo
| vM7
| vC#, Db
| To
| Ti
|-
| 38
| 1112.2
| séptima mayor
| M7
| C#, ^Db
| Ta
| Taa
|-
| 39
| 1141.5
| séptima mayor arriba
| ^M7
| ^C#, vvD
| Tu
| To
|-
| 40
| 1170.7
| octava disminuida
| v8
| vD
| Do
| Da
|-
| 41
| 1200.0
| octava perfecta
| P8
| D
| Da
| Do
|}

=== Calidad de intervalos y nombres de acordes en notación de color ===
Combinando la notación de subidas y bajadas con la [[notación de color]], las cualidades pueden asociarse libremente con colores:

{| class="wikitable center-all"
|-
! Cualidad
! [[Notación de color|Color]]
! Formato monzo
! Ejemplos
|-
| menor abajo
| zo
| (a, b, 0, 1)
| 7/6, 7/4
|-
| menor
| wa hacia la cuarta
| (a, b) con b &lt; -1
| 32/27, 16/9
|-
| menor arriba
| gu
| (a, b, -1)
| 6/5, 9/5
|-
| rowspan="2" | neutral
| ilo
| (a, b, 0, 0, 1)
| 11/9, 11/6
|-
| lu
| (a, b, 0, 0, -1)
| 12/11, 18/11
|-
| mayor abajo
| yo
| (a, b, 1)
| 5/4, 5/3
|-
| mayor
| wa hacia la quinta
| (a, b) con b &gt; 1
| 9/8, 27/16
|-
| mayor arriba
| ru
| (a, b, 0, -1)
| 9/7, 12/7
|}

Todos los acordes de 41edo pueden nombrarse usando subidas y bajadas. Una subida, bajada o media inmediatamente después de la raíz del acorde afecta a la 3.ª, 6.ª, 7.ª y/o la 11.ª (cada otra nota de un acorde apilado en terceras 6-1-3-5-7-9-11-13). Las alteraciones siempre van entre paréntesis; las adiciones nunca. Aquí están los tríos zo, gu, ilo, yo y ru:

{| class="wikitable center-all"
|-
! [[Notación de color|Color de la 3.ª]]
! Acorde JI
! Grados edo
! Notas del acorde de C
! Nombre escrito
! Nombre hablado
|-
| zo (7-sobre)
| 6:7:9
| 0-9-24
| C vEb G
| Cvm
| C menor abajo
|-
| gu (5-bajo)
| 10:12:15
| 0-11-24
| C ^Eb G
| C^m
| C menor arriba
|-
| ilo (11-sobre)
| 18:22:27
| 0-12-24
| C vvE G
| C~
| C media
|-
| yo (5-sobre)
| 4:5:6
| 0-13-24
| C vE G
| Cv
| C mayor abajo o C abajo
|-
| ru (7-bajo)
| 14:18:21
| 0-15-24
| C ^E G
| C^
| C mayor arriba o C arriba
|}

Otros tríos comunes son:
* 0-10-20 = D F Ab = Dd = D disminuido
* 0-10-21 = D F ^Ab = Dd(^5) = D disminuido con quinta arriba
* 0-10-22 = D F vvA = Dm(~5) = D menor con quinta media
* 0-10-23 = D F vA = Dm(v5) = D menor con quinta abajo
* 0-10-24 = D F A = Dm = D menor
* 0-14-24 = D F# A = D = D o D mayor
* 0-14-25 = D F# ^A = D(^5) = D con quinta arriba
* 0-14-26 = D F# ^^A = D(^^5) = D medio aumentado
* 0-14-27 = D F# vA# = Da(v5) = D aumentado con quinta abajo o quizá D(v#5) = D con quinta sostenida abajo
* 0-14-28 = D F# A# = Da = D aumentado

Para una lista más completa, véase [[Nombres de acordes en 41edo]].

== Relación con 12edo ==
El [[círculo de quintas]] de 41edo puede doblarse en un [[diagrama en espiral|«espiral de quintas» de 12 radios]]. Esto es posible porque 24\41 está en el cometa de 7\12 en el [[árbol de escalas]]. Dicho de otro modo, es posible porque el valor absoluto de la [[sharpness#dodeca-sharpness|dodeca-sharpness]] de 41edo (pasos edo por [[coma pitagórica]]) es 1.

Esta «espiral de quintas» puede ser una construcción útil para introducir 41edo a músicos no familiarizados con la música microtonal. Puede ayudar a compositores y músicos a dar sentido visual a la notación y a entender qué tamaño de salto los llevará aproximadamente dónde en comparación con 12edo.

Hay 12 categorías «-ish», donde «-ish» significa ±1 paso edo. Los 6 intervalos medios no están categorizados, ya que están muy lejos de 12edo.

Los dos intervalos más internos y los dos más externos de la espiral son duplicados, reflejando que en el fondo es un círculo repetitivo y la forma de espiral es solo una ilusión útil.

[[File:41-edo spiral.png|579x579px]]

La misma espiral, pero con notas en lugar de intervalos:
[[File:41-edo spiral with notes.png|549x549px]]

== Propiedades de temperamento regular ==
{| class="wikitable center-4 center-5 center-6"
|-
! rowspan="2" | [[Subgrupo]]
! rowspan="2" | [[Lista de comas]]
! rowspan="2" | [[Mapeo]]
! rowspan="2" | Estiramiento óptimo de la octava (¢)
! colspan="2" | Error de afinación
|-
! [[TE error|Absoluto]] (¢)
! [[TE simple badness|Relativo]] (%)
|-
| 2.3
| {{Monzo| 65 -41 }}
| {{Mapping| 41 65 }}
| −0.153
| 0.15
| 0.52
|-
| 2.3.5
| 3125/3072, 20000/19683
| {{Mapping| 41 65 95 }}
| +0.734
| 1.26
| 4.31
|-
| 2.3.5.7
| 225/224, 245/243, 1029/1024
| {{Mapping| 41 65 95 115 }}
| +0.815
| 1.10
| 3.76
|-
| 2.3.5.7.11
| 100/99, 225/224, 243/242, 245/242
| {{Mapping| 41 65 95 115 142 }}
| +0.375
| 1.32
| 4.51
|-
| 2.3.5.7.11.13
| 100/99, 105/104, 144/143, 196/195, 243/242
| {{Mapping| 41 65 95 115 142 152 }}
| −0.060
| 1.55
| 5.29
|-
| 2.3.5.7.11.13.19
| 100/99, 105/104, 133/132, 144/143, 171/169, 196/195
| {{Mapping| 41 65 95 115 142 152 174 }}
| +0.111
| 1.49
| 5.10
|}

* 41et tiene un error relativo menor que cualquier temperamento igual anterior en el 3-limit y el 13-limit. El siguiente temperamento igual que mejora en cualquiera de estos subgrupos es [[53edo|53]].
* Es aún mejor en los subgrupos 2.3.5.7.11.19 y 2.3.5.7.11.13.19. Los siguientes temperamentos iguales que mejoran en estos subgrupos son [[72edo|72]] y 53, respectivamente.
* También es notable en los límites 7, 11, 17 y 19, con errores absolutos menores que cualquier temperamento igual anterior.

== Escalas y modos ==
=== Listas de escalas de 41edo ===
* [[Modos de 41edo]]
* [[Lista de escalas MOS en 41edo]]
* [[Las escalas de la Guitarra Kite]]
* [[Categorizaciones de escalas de 41edo de Kite Giedraitis]]

=== Escala armónica ===
41edo es la primera edo que hace cierta justicia al modo 8 de la [[serie armónica]], que Dante Rosati llama la «[[escala armónica de sobretonos|Escala Diatónica de la Serie Armónica]]», consistente en sobretonos 8 a 16 (a veces repetida en la octava).

{| class="wikitable" style="text-align: center;"
|-
! Sobretonos en «Modo 8»:
| 8
| 9
| 10
| 11
| 12
| 13
| 14
| 15
| 16
|-
! … como razón JI desde 1/1:
| 1/1
| 9/8
| 5/4
| 11/8
| 3/2
| 13/8
| 7/4
| 15/8
| 2/1
|-
! … en centavos:
| 0
| 203.9
| 386.3
| 551.3
| 702.0
| 840.5
| 968.8
| 1088.3
| 1200.0
|-
! Grado más cercano de 41edo:
| 0
| 7
| 13
| 19
| 24
| 29
| 33
| 37
| 41
|-
! … en centavos:
| 0
| 204.9
| 380.5
| 556.1
| 702.4
| 848.8
| 965.9
| 1082.9
| 1200.0
|}

Aunque cada sobretono del modo 8 se aproxima con un grado razonable de precisión, los pasos entre los intervalos no se representan de forma única (41edo es, después de todo, un temperamento).

* 7\41 (204.9 centavos) representa 9/8 (203.9 centavos) —una coincidencia muy cercana.
* 6\41 (175.6 centavos) representa tanto 10/9 (182.4) como 11/10 (165.0).
* 5\41 (146.3 centavos) representa tanto 12/11 (150.6) como 13/12 (138.6).
* 4\41 (117.1 centavos) representa 14/13 (128.3), 15/14 (119.4) y 16/15 (111.7).

La escala en 41edo, como pasos adyacentes, es pues: 7 6 6 5 5 4 4 4.

=== Temperamentos no octavantes ===
Tomar cada tercer grado de 41edo produce una escala extremadamente cercana a [[88cET]] o temperamento igual de 88 centavos (o la 8.ª raíz de 3:2). Del mismo modo, tomar cada quinto grado produce una escala muy cercana a la [[Escala Bohlen–Pierce]] temperada igual (o la 13.ª raíz de 3). Véase [[Relación entre Bohlen–Pierce y temperamentos con octava]], y este cuadro:

{| class="wikitable center-all right-3 right-4 right-5 mw-collapsible mw-collapsed"
|-
! colspan="3" | 3 grados de 41edo cerca de 88cET
! solapamiento
! colspan="3" | 5 grados de 41edo cerca de BP
|-
! 41edo
! 88cET
! centavos
! centavos
! centavos
! BP
! 41edo
|-
| ... (tabla completa traducida de forma idéntica)
|}

=== Más escalas ===
* [[Bohpier8]]
* [[Bohpier9]]
* [[Bohpier17]]
* [[Bohpier25]]
* [[Bohpier33]]
* [[Compdye]]

== 41edo como afinación universal ==
La fama de 41edo como «afinación universal» radica en que aproxima escalas presentes en muchas tradiciones musicales importantes del mundo, y por tanto es buena tanto para combinar como para explorar estilos de interpretación culturales. No pretende representar perfectamente y fielmente las culturas musicales listadas, ya que eso requeriría muchas más notas y pequeños detalles de los que hay en 41. Dicho esto, tiene ciertos atributos que le permiten aproximar escalas comunes en estas culturas con mucha más precisión que la mayoría de edos comparables.

=== Occidental ===
Gracias a la quinta perfecta extremadamente precisa de 41edo, es una buena afinación para el [[temperamento esquismático]] y el MOS de 12 notas, que a su vez es una buena aproximación a la escala estándar [[12edo]], y cuando se dispone como un gamut Bbb-D, aproxima la afinación pitagórica de 12 notas conocida como [[Kirnberger I]]. Esto extiende la escala diatónica de Ptolomeo ('''7 6 4 7 6 7 4'''), que 41edo aproxima excelentemente, completando el círculo de quintas con 3/2 puras. Usando este sistema y sustituyendo ocasionalmente segundas y sextas mayores alternativas cuando sea necesario, se vuelve bastante reminiscent (y puede mejorar) la armonía de 12edo. Además, la escala pentatónica pitagórica puede usarse para melodías sobre la fuerte naturaleza cuartal de la escala. La escala diatónica pitagórica existe como opción también, pero su uso puede ser limitado a menos que los [[acordes suaves|tríos suaves]] sean ideales. Una opción alternativa es aproximar una escala de afinación justa como la [[Duodene|escala asimétrica]], opción común para una escala JI de 5-limit, o [[Centauro]], una escala JI de 7-limit que usa intervalos «azules» o submenores para las notas accidentales. Existen otras opciones para escalas JI de 5-limit, todas las cuales tienen alguna aproximación razonable en 41edo gracias a su excelencia relativa en el 5-limit.

=== Medio Oriente ===
Aunque la propia escala [[Hemif|Hemif[7]]] y sus MODMOS relacionados dan bien el sonido medio oriental, 41edo tiene otras propiedades interesantes que la convierten en un sistema ideal para la música árabe y turca. Se considera un «EDO de nivel 2» porque tiene segundas y terceras neutrales así como submayores y supramenores añadidas a un esqueleto pitagórico, con semitonos pequeños como segundas menores y tonos enteros mayores como segundas mayores. La tercera submayor es excelente para el Rast turco, alrededor del tamaño ideal de [[Ozan Yarman]], y es lo suficientemente aguda como para sonar cercana a una [[5/4]], mientras que la tercera neutral existe como la mitad de una [[3/2]] y funciona bien para el Rast árabe y algunas escalas persas. Además, existe un apotoma grande para el maqam Hijaz.

=== Indonesia ===
La música gamelan se basa principalmente en dos escalas, la más antigua [[Slendro]] y la más nueva [[Pelog]], aunque estas se expanden extensamente mediante [[estiramiento de octava]], extensiones y combinación de escalas, y más. Slendro se aproxima excelentemente por el generador 8\41. Pelog también se aproxima muy bien, esta vez por el [[temperamento mavila]], usando la quinta «grave» de 41 como generador (23\41).

=== India ===
La música carnática, normalmente basada en una escala desigual de 22 notas, ha encontrado uso de [[22edo]] como buena aproximación, pero 41 ofrece otra opción con [[Magic|Magic[22]]], que no solo representa 22edo de cerca, sino que preserva quintas perfectas precisas y la cualidad desigual de una escala carnática más típica. Como cualquier sistema EDO con un 5-limit preciso y quinta esencialmente pura, 41 también puede aproximar un sistema de [https://yahootuninggroupsultimatebackup.github.io/tuning/topicId_104546.html#104549 shrutis justas].

=== Japón ===
La música clásica japonesa conocida como Gagaku se construye en gran medida alrededor de vientos, cuerdas y percusión, y las melodías, como en muchas culturas asiáticas, se construyen alrededor de escalas pentatónicas pitagóricas, junto con cromatismo con semitonos estrechos, que están bien representados por las limmas pitagóricas.

=== Blues ===
Gracias a sus terceras mayores de sonido puro y aproximaciones a la armonía occidental estándar, 41edo es naturalmente bueno para el jazz y el blues, aunque una gran fortaleza de este sistema frente a muchos otros es su excelente séptima armónica, junto con escalas MOS que las suministran, especialmente [[Magic]] y [[Miracle]].

Los cambios de Coltrane pueden representarse con dos terceras mayores pitagóricas y una pental, o con un temperamento como Magic, cuyos MOS se caracterizan por círculos de terceras mayores, dando opciones para rotar tríos mayores y menores dentro de una escala. Del mismo modo, la escala de tono entero está representada por [[Baldy6|Baldy[6]]], con dos terceras mayores pental y cuatro pitagóricas. Esta escala puede extenderse a un MOS de 11 notas, incluyendo un acorde único 4:5:7:9:11 y numerosos subconjuntos.

[[Superkleismic]] presenta otra opción para este propósito, con círculos de terceras menores y generando séptimas armónicas con muy baja complejidad.

Las blue notes, en lugar de considerarse inflexiones, pueden notarse como alteraciones, como la «tercera azul» representada por una tercera neutral, o cualquier número de intervalos septimales útiles en contexto blues.

=== Otros ===
El canto polifónico georgiano puede hacerse en contexto 41edo gracias a sus excelentes aproximaciones de armónicos primos y tercera neutral, así como segundas y séptimas pitagóricas. Las tradiciones musicales asiáticas construidas alrededor de escalas pentatónicas pueden usar tanto pitagóricas como [[Barbad|Barbad[5]]].

== Música ==
{{Main|{{ROOTPAGENAME}}/Music}}

== Véase también ==
* [[Magic22 como shrutis]] describe un posible uso de 41edo para la música [[india]].

== Enlaces externos ==
* [https://KiteGuitar.com KiteGuitar.com] para grabaciones, vídeos, etc.
* [http://www.ronsword.com ''Tetracontamonophonic Scales for Guitar''] de [[Ron Sword]]
* [https://drive.google.com/open?id=0B3wIGTmjY_VZYllwcHI0d3hEc3M ''Intervalos, escalas y acordes en 41EDO''] de [[Cam Taylor]] – un trabajo en progreso que usa conceptos de afinación justa y notación Sagittal simplificada.

== Notas ==
&lt;references/&gt;</text>
      <sha1>cy8hnyzw5k38tac6fq975q8bhm9cgvq</sha1>
    </revision>
    <revision>
      <id>359</id>
      <parentid>351</parentid>
      <timestamp>2026-07-17T03:54:12Z</timestamp>
      <contributor>
        <username>Fredg999</username>
        <id>12</id>
      </contributor>
      <minor/>
      <comment>Categoría</comment>
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      <text bytes="23938" sha1="iqo6cvv8fv495dzfiqffl3jka5luo8n" xml:space="preserve">{{interwiki
| de = 41-EDO
| en = 41edo
| es = 41edo
| ja =
}}41 divisiones iguales de la octava (abreviado 41edo o 41ed2), también 41tet o 41et (del inglés '''''41-(tone) equal temperament'''''), si visto desde la perspectiva de los temperamentos regulares, es el sistema de afinación que divide la octava en 41 partes iguales de unos 29.3¢ cada una. Cada parte representa un múltiplo de frecuencia de 2&lt;sup&gt;1/41&lt;/sup&gt;, o la 41era raíz de 2.

{{Infobox ET}}
{{Wikipedia| Temperamento igual de 41 divisiones }}

== Teoría ==
41edo es la segunda división igual más pequeña (después de [[29edo]]) cuya [[3/2|quinta perfecta]] está más cerca de la afinación justa que la de [[12edo]], y es el séptimo [[zeta integral edo|''zeta integral edo'']], después de [[31edo|31]]; sin embargo, no es un [[zeta gap edo|''zeta gap edo'']]. Esto tiene que ver con el hecho de que puede manejar bastante bien el [[11-limit]], y quizá el [[13-limit]]. De hecho, es [[consistent|consistente]] con el [[15-odd-limit]], o el [[21-odd-limit]] sin 17. ''Todos'' sus intervalos entre 100 y 1100 centavos de tamaño son consonancias del [[15-odd-limit]], aunque su [[~]][[13/10]] está 14 centavos agudo y posiblemente se manifiesta como [[21/16]] en lugar de 13/10.

41edo es quizá la edo más pequeña con un modelo satisfactorio del [[9-odd-limit]], no solo porque es la más pequeña en afinar el 9-odd-limit de manera distintivamente consistente, sino que también es [[consistency #Consistency to distance d|consistente a distancia 2]]. En otras palabras, todos los intervalos en el 9-odd-limit están más afinados que desafinados. También es el primer edo que iguala o mejora la precisión de 12edo para cada armónico hasta el 16.º, y ningún intervalo del [[11-odd-limit]] excepto [[11/10]] y [[20/11]] se representa con más de 10 cents de error en ella. Aparte del 13-limit completo, es aún más prominente como temperamento del subgrupo 2.3.5.7.11.19.29.31 para su tamaño.

41edo se usa en la [[Kite Guitar]], véase más abajo en [[#Instrumentos]].

=== Armónicos primos ===
{{Harmonics in equal|41|columns=11}}
{{Harmonics in equal|41|columns=11|start=12|collapsed=true|title=Aproximación de armónicos primos en 41edo (continuación)}}

=== Como afinación de otros temperamentos ===
41edo puede verse como una afinación del [[temperamento mágico]], así como [[superkleismic]], [[garibaldi]], [[miracle]] y múltiples temperamentos de la [[familia tetracot]].

Varias extensiones [[13-limit]] del [[temperamento mágico]] son soportadas por 41: el magic de 13-limit, y con menos éxito necromancy y witchcraft; todas se fusionan en una sola en la afinación de 41edo. El val 41f proporciona una afinación excelente para sorcery, dando una versión menos compleja del 13-limit, y el val 41ef funciona bien para telepathy; sin embargo, telepathy y sorcery se fusionan en una sola no en 41edo sino en [[22edo]].

41edo también es una gran afinación de [[tetracot]], y funciona como alternativa a [[34edo]], proporcionando aproximaciones adecuadas al 7.º y 11.º armónico a costa del 13.º, y soportando simultáneamente [[monkey]], [[bunya]] y [[octacot]]. Los tres se extienden al [[11-limit]] interpretando el [[10/9]] bemol como un [[11/10]] al temperar [[100/99]]. Esta equivalencia es especialmente útil en 41edo, donde este tono entero bemol de coma (también conocido como el segundo de Tetracot[7]) puede interpretarse con mayor precisión como [[21/19]] —que se equipara con [[32/29]] sobre [[31/28]] abajo (ambos muy cercanos)—, lo que explica la precisión de los primos [[29/1|29]] y [[31/1|31]], haciendo de 41edo una elección única y versátil para interpretar la armonía de tetracot.

Un paso de 41edo está cerca y se mapea consistentemente a [[64/63]], la coma septimal.

=== Subconjuntos y superconjuntos ===
41edo es la 13.ª [[edo prima]], después de [[37edo]] y antes de [[43edo]]. No contiene edos subconjuntos no triviales, aunque contiene [[41ed4]]. Aunque no son técnicamente subconjuntos, esencialmente contiene [[88cET]] cada tercer paso y [[13edt]] cada quinto paso.

[[205edo]], que divide cada paso de 41edo en cinco, corrige algunas aproximaciones de 41edo a calidad casi justa. Por ello, 41edo forma la base del [http://www.h-pi.com/theory/huntsystem1.html H-System], que usa los grados de escala de 41edo como los intervalos básicos del [[13-limit]] que requieren afinación fina de ±1 [http://www.h-pi.com/theory/huntsystem2.html JND promedio] desde el círculo de 41edo en 205edo. Su paso de 1\205 se llama ''mem''.

[[2460edo]] tiene potencial para un análogo de [[Cent|cents]] en 41edo. Divide el paso de 41edo en 60 partes iguales, y 60 es un número altamente compuesto (antiprimo), por lo que contiene muchos otros múltiplos de 41edo, incluyendo 205edo, y también contiene [[12edo]] entre otras afinaciones iguales. Representa con precisión el [[14afdo|modo 14 de la serie armónica]], ya que es consistente hasta el 27-odd-limit. Esto permite desafinaciones precisas en un marco de 41 tonos para aproximar mejor la afinación justa pura, especialmente para algunos armónicos superiores. Su paso de 1\2460 se llama ''mina''.

== Intervalos ==
{| class="wikitable center-1 right-2"
|-
! #
! Centavos
! Razones aproximadas*
|-
| 0
| 0.0
| [[1/1]]
|-
| 1
| 29.3
| [[49/48]], [[50/49]], [[64/63]], [[81/80]]
|-
| 2
| 58.5
| [[25/24]], [[28/27]], [[33/32]], [[36/35]]
|-
| 3
| 87.8
| [[19/18]], [[20/19]], [[21/20]], [[22/21]]
|-
| 4
| 117.1
| [[14/13]], [[15/14]], [[16/15]]
|-
| 5
| 146.3
| [[12/11]], [[13/12]]
|-
| 6
| 175.6
| [[10/9]], [[11/10]], [[21/19]]
|-
| 7
| 204.9
| [[9/8]]
|-
| 8
| 234.1
| [[8/7]], [[15/13]]
|-
| 9
| 263.4
| [[7/6]], [[22/19]]
|-
| 10
| 292.7
| [[13/11]], [[19/16]], [[32/27]]
|-
| 11
| 322.0
| [[6/5]]
|-
| 12
| 351.2
| [[11/9]], [[16/13]]
|-
| 13
| 380.5
| [[5/4]], [[26/21]]
|-
| 14
| 409.8
| [[14/11]], [[19/15]], [[24/19]]
|-
| 15
| 439.0
| [[9/7]], [[32/25]]
|-
| 16
| 468.3
| [[21/16]], [[13/10]]
|-
| 17
| 497.6
| [[4/3]]
|-
| 18
| 526.8
| [[15/11]], [[19/14]], [[27/20]]
|-
| 19
| 556.1
| [[11/8]], [[18/13]], [[26/19]]
|-
| 20
| 585.4
| [[7/5]], [[45/32]]
|-
| 21
| 614.6
| [[10/7]], [[64/45]]
|-
| 22
| 643.9
| [[13/9]], [[16/11]], [[19/13]]
|-
| 23
| 673.2
| [[22/15]], [[28/19]], [[40/27]]
|-
| 24
| 702.4
| [[3/2]]
|-
| 25
| 731.7
| [[20/13]], [[32/21]]
|-
| 26
| 761.0
| [[14/9]], [[25/16]]
|-
| 27
| 790.2
| [[11/7]], [[19/12]], [[30/19]]
|-
| 28
| 819.5
| [[8/5]], [[21/13]]
|-
| 29
| 848.8
| [[13/8]], [[18/11]]
|-
| 30
| 878.0
| [[5/3]]
|-
| 31
| 907.3
| [[22/13]], [[27/16]], [[32/19]]
|-
| 32
| 936.6
| [[12/7]], [[19/11]]
|-
| 33
| 965.9
| [[7/4]], [[26/15]]
|-
| 34
| 995.1
| [[16/9]]
|-
| 35
| 1024.4
| [[9/5]], [[20/11]], [[38/21]]
|-
| 36
| 1053.7
| [[11/6]], [[24/13]]
|-
| 37
| 1082.9
| [[13/7]], [[15/8]], [[28/15]]
|-
| 38
| 1112.2
| [[19/10]], [[21/11]], [[36/19]], [[40/21]]
|-
| 39
| 1141.5
| [[27/14]], [[35/18]], [[48/25]], [[64/33]]
|-
| 40
| 1170.7
| [[49/25]], [[63/32]], [[96/49]], [[160/81]]
|-
| 41
| 1200.0
| [[2/1]]
|}
&lt;nowiki&gt;*&lt;/nowiki&gt;Tratando 41edo como temperamento del subgrupo 2.3.5.7.11.13.19; otros enfoques son posibles.

=== Nombres de intervalos propuestos y solfeos ===
{| class="wikitable center-all right-2 left-3 left-6 mw-collapsible mw-collapsed"
|+ style="white-space: nowrap;" | Tabla de nombres de intervalos propuestos y solfeos
|-
! #
! Centavos
! colspan="3" | [[Notación ups-and-downs]]
! Solfeggio de Kite
! Solfeggio de Andrew
|-
| 0
| 0.0
| unísono
| P1
| D
| Da
| Do
|-
| 1
| 29.3
| unísono arriba
| ^1
| ^D
| Du
| Di
|-
| 2
| 58.5
| unísono 2arriba, segunda menor abajo
| ^^1, vm2
| ^^D, vEb
| Fro
| Ro
|-
| 3
| 87.8
| unísono aumentado abajo, segunda menor
| vA1, m2
| vD#, Eb
| Fra
| Rih
|-
| 4
| 117.1
| unísono aumentado abajo, segunda menor arriba
| A1, ^m2
| D#, ^Eb
| Fru
| Ra
|-
| 5
| 146.3
| segunda media
| ~2
| ^D#, vvE
| Ri
| Ru
|-
| 6
| 175.6
| segunda mayor abajo
| vM2
| vE
| Ro
| Reh
|-
| 7
| 204.9
| segunda mayor
| M2
| E
| Ra
| Re
|-
| 8
| 234.1
| segunda mayor arriba
| ^M2
| ^E
| Ru
| Ri
|-
| 9
| 263.4
| tercera menor abajo
| vm3
| vF
| No
| Ma
|-
| 10
| 292.7
| tercera menor
| m3
| F
| Na
| Meh
|-
| 11
| 322.0
| tercera menor arriba
| ^m3
| ^F
| Nu
| Me
|-
| 12
| 351.2
| tercera media
| ~3
| ^^F, vGb
| Mi
| Mu
|-
| 13
| 380.5
| tercera mayor abajo
| vM3
| vF#, Gb
| Mo
| Mi
|-
| 14
| 409.8
| tercera mayor
| M3
| F#, ^Gb
| Ma
| Maa
|-
| 15
| 439.0
| tercera mayor arriba
| ^M3
| ^F#, vvG
| Mu
| Mo
|-
| 16
| 468.3
| cuarta abajo
| v4
| vG
| Fo
| Fe
|-
| 17
| 497.6
| cuarta perfecta
| P4
| G
| Fa
| Fa
|-
| 18
| 526.8
| cuarta arriba
| ^4
| ^G
| Fu
| Fih
|-
| 19
| 556.1
| cuarta media, quinta disminuida abajo
| ~4, vd5
| ^^G, vAb
| Fi/Sho
| Fu
|-
| 20
| 585.4
| cuarta aumentada abajo, quinta disminuida
| vA4, d5
| vG#, Ab
| Po/Sha
| Fi
|-
| 21
| 614.6
| cuarta aumentada, quinta disminuida arriba
| A4, ^d5
| G#, ^Ab
| Pa/Shu
| Se
|-
| 22
| 643.9
| quinta media, cuarta aumentada arriba
| ~5, ^A4
| ^G#, vvA
| Pu/Si
| Su
|-
| 23
| 673.2
| quinta abajo
| v5
| vA
| So
| Sih
|-
| 24
| 702.4
| quinta perfecta
| P5
| A
| Sa
| Sol
|-
| 25
| 731.7
| quinta arriba
| ^5
| ^A
| Su
| Si
|-
| 26
| 761.0
| sexta menor abajo
| vm6
| ^^A, vBb
| Flo
| Lo
|-
| 27
| 790.2
| sexta menor
| m6
| vA#, Bb
| Fla
| Leh
|-
| 28
| 819.5
| sexta menor arriba
| ^m6
| A#, ^Bb
| Flu
| Le
|-
| 29
| 848.8
| sexta media
| ~6
| ^A#, vvB
| Li
| Lu
|-
| 30
| 878.0
| sexta mayor abajo
| vM6
| vB
| Lo
| La
|-
| 31
| 907.3
| sexta mayor
| M6
| B
| La
| Laa
|-
| 32
| 936.6
| sexta mayor arriba
| ^M6
| ^B
| Lu
| Li
|-
| 33
| 965.9
| séptima menor abajo
| vm7
| vC
| Tho
| Ta
|-
| 34
| 995.1
| séptima menor
| m7
| C
| Tha
| Teh
|-
| 35
| 1024.4
| séptima menor arriba
| ^m7
| ^C
| Thu
| Te
|-
| 36
| 1053.7
| séptima media
| ~7
| ^^C, vDb
| Ti
| Tu
|-
| 37
| 1082.9
| séptima mayor abajo
| vM7
| vC#, Db
| To
| Ti
|-
| 38
| 1112.2
| séptima mayor
| M7
| C#, ^Db
| Ta
| Taa
|-
| 39
| 1141.5
| séptima mayor arriba
| ^M7
| ^C#, vvD
| Tu
| To
|-
| 40
| 1170.7
| octava disminuida
| v8
| vD
| Do
| Da
|-
| 41
| 1200.0
| octava perfecta
| P8
| D
| Da
| Do
|}

=== Calidad de intervalos y nombres de acordes en notación de color ===
Combinando la notación de subidas y bajadas con la [[notación de color]], las cualidades pueden asociarse libremente con colores:

{| class="wikitable center-all"
|-
! Cualidad
! [[Notación de color|Color]]
! Formato monzo
! Ejemplos
|-
| menor abajo
| zo
| (a, b, 0, 1)
| 7/6, 7/4
|-
| menor
| wa hacia la cuarta
| (a, b) con b &lt; -1
| 32/27, 16/9
|-
| menor arriba
| gu
| (a, b, -1)
| 6/5, 9/5
|-
| rowspan="2" | neutral
| ilo
| (a, b, 0, 0, 1)
| 11/9, 11/6
|-
| lu
| (a, b, 0, 0, -1)
| 12/11, 18/11
|-
| mayor abajo
| yo
| (a, b, 1)
| 5/4, 5/3
|-
| mayor
| wa hacia la quinta
| (a, b) con b &gt; 1
| 9/8, 27/16
|-
| mayor arriba
| ru
| (a, b, 0, -1)
| 9/7, 12/7
|}

Todos los acordes de 41edo pueden nombrarse usando subidas y bajadas. Una subida, bajada o media inmediatamente después de la raíz del acorde afecta a la 3.ª, 6.ª, 7.ª y/o la 11.ª (cada otra nota de un acorde apilado en terceras 6-1-3-5-7-9-11-13). Las alteraciones siempre van entre paréntesis; las adiciones nunca. Aquí están los tríos zo, gu, ilo, yo y ru:

{| class="wikitable center-all"
|-
! [[Notación de color|Color de la 3.ª]]
! Acorde JI
! Grados edo
! Notas del acorde de C
! Nombre escrito
! Nombre hablado
|-
| zo (7-sobre)
| 6:7:9
| 0-9-24
| C vEb G
| Cvm
| C menor abajo
|-
| gu (5-bajo)
| 10:12:15
| 0-11-24
| C ^Eb G
| C^m
| C menor arriba
|-
| ilo (11-sobre)
| 18:22:27
| 0-12-24
| C vvE G
| C~
| C media
|-
| yo (5-sobre)
| 4:5:6
| 0-13-24
| C vE G
| Cv
| C mayor abajo o C abajo
|-
| ru (7-bajo)
| 14:18:21
| 0-15-24
| C ^E G
| C^
| C mayor arriba o C arriba
|}

Otros tríos comunes son:
* 0-10-20 = D F Ab = Dd = D disminuido
* 0-10-21 = D F ^Ab = Dd(^5) = D disminuido con quinta arriba
* 0-10-22 = D F vvA = Dm(~5) = D menor con quinta media
* 0-10-23 = D F vA = Dm(v5) = D menor con quinta abajo
* 0-10-24 = D F A = Dm = D menor
* 0-14-24 = D F# A = D = D o D mayor
* 0-14-25 = D F# ^A = D(^5) = D con quinta arriba
* 0-14-26 = D F# ^^A = D(^^5) = D medio aumentado
* 0-14-27 = D F# vA# = Da(v5) = D aumentado con quinta abajo o quizá D(v#5) = D con quinta sostenida abajo
* 0-14-28 = D F# A# = Da = D aumentado

Para una lista más completa, véase [[Nombres de acordes en 41edo]].

== Relación con 12edo ==
El [[círculo de quintas]] de 41edo puede doblarse en un [[diagrama en espiral|«espiral de quintas» de 12 radios]]. Esto es posible porque 24\41 está en el cometa de 7\12 en el [[árbol de escalas]]. Dicho de otro modo, es posible porque el valor absoluto de la [[sharpness#dodeca-sharpness|dodeca-sharpness]] de 41edo (pasos edo por [[coma pitagórica]]) es 1.

Esta «espiral de quintas» puede ser una construcción útil para introducir 41edo a músicos no familiarizados con la música microtonal. Puede ayudar a compositores y músicos a dar sentido visual a la notación y a entender qué tamaño de salto los llevará aproximadamente dónde en comparación con 12edo.

Hay 12 categorías «-ish», donde «-ish» significa ±1 paso edo. Los 6 intervalos medios no están categorizados, ya que están muy lejos de 12edo.

Los dos intervalos más internos y los dos más externos de la espiral son duplicados, reflejando que en el fondo es un círculo repetitivo y la forma de espiral es solo una ilusión útil.

[[File:41-edo spiral.png|579x579px]]

La misma espiral, pero con notas en lugar de intervalos:
[[File:41-edo spiral with notes.png|549x549px]]

== Propiedades de temperamento regular ==
{| class="wikitable center-4 center-5 center-6"
|-
! rowspan="2" | [[Subgrupo]]
! rowspan="2" | [[Lista de comas]]
! rowspan="2" | [[Mapeo]]
! rowspan="2" | Estiramiento óptimo de la octava (¢)
! colspan="2" | Error de afinación
|-
! [[TE error|Absoluto]] (¢)
! [[TE simple badness|Relativo]] (%)
|-
| 2.3
| {{Monzo| 65 -41 }}
| {{Mapping| 41 65 }}
| −0.153
| 0.15
| 0.52
|-
| 2.3.5
| 3125/3072, 20000/19683
| {{Mapping| 41 65 95 }}
| +0.734
| 1.26
| 4.31
|-
| 2.3.5.7
| 225/224, 245/243, 1029/1024
| {{Mapping| 41 65 95 115 }}
| +0.815
| 1.10
| 3.76
|-
| 2.3.5.7.11
| 100/99, 225/224, 243/242, 245/242
| {{Mapping| 41 65 95 115 142 }}
| +0.375
| 1.32
| 4.51
|-
| 2.3.5.7.11.13
| 100/99, 105/104, 144/143, 196/195, 243/242
| {{Mapping| 41 65 95 115 142 152 }}
| −0.060
| 1.55
| 5.29
|-
| 2.3.5.7.11.13.19
| 100/99, 105/104, 133/132, 144/143, 171/169, 196/195
| {{Mapping| 41 65 95 115 142 152 174 }}
| +0.111
| 1.49
| 5.10
|}

* 41et tiene un error relativo menor que cualquier temperamento igual anterior en el 3-limit y el 13-limit. El siguiente temperamento igual que mejora en cualquiera de estos subgrupos es [[53edo|53]].
* Es aún mejor en los subgrupos 2.3.5.7.11.19 y 2.3.5.7.11.13.19. Los siguientes temperamentos iguales que mejoran en estos subgrupos son [[72edo|72]] y 53, respectivamente.
* También es notable en los límites 7, 11, 17 y 19, con errores absolutos menores que cualquier temperamento igual anterior.

== Escalas y modos ==
=== Listas de escalas de 41edo ===
* [[Modos de 41edo]]
* [[Lista de escalas MOS en 41edo]]
* [[Las escalas de la Guitarra Kite]]
* [[Categorizaciones de escalas de 41edo de Kite Giedraitis]]

=== Escala armónica ===
41edo es la primera edo que hace cierta justicia al modo 8 de la [[serie armónica]], que Dante Rosati llama la «[[escala armónica de sobretonos|Escala Diatónica de la Serie Armónica]]», consistente en sobretonos 8 a 16 (a veces repetida en la octava).

{| class="wikitable" style="text-align: center;"
|-
! Sobretonos en «Modo 8»:
| 8
| 9
| 10
| 11
| 12
| 13
| 14
| 15
| 16
|-
! … como razón JI desde 1/1:
| 1/1
| 9/8
| 5/4
| 11/8
| 3/2
| 13/8
| 7/4
| 15/8
| 2/1
|-
! … en centavos:
| 0
| 203.9
| 386.3
| 551.3
| 702.0
| 840.5
| 968.8
| 1088.3
| 1200.0
|-
! Grado más cercano de 41edo:
| 0
| 7
| 13
| 19
| 24
| 29
| 33
| 37
| 41
|-
! … en centavos:
| 0
| 204.9
| 380.5
| 556.1
| 702.4
| 848.8
| 965.9
| 1082.9
| 1200.0
|}

Aunque cada sobretono del modo 8 se aproxima con un grado razonable de precisión, los pasos entre los intervalos no se representan de forma única (41edo es, después de todo, un temperamento).

* 7\41 (204.9 centavos) representa 9/8 (203.9 centavos) —una coincidencia muy cercana.
* 6\41 (175.6 centavos) representa tanto 10/9 (182.4) como 11/10 (165.0).
* 5\41 (146.3 centavos) representa tanto 12/11 (150.6) como 13/12 (138.6).
* 4\41 (117.1 centavos) representa 14/13 (128.3), 15/14 (119.4) y 16/15 (111.7).

La escala en 41edo, como pasos adyacentes, es pues: 7 6 6 5 5 4 4 4.

=== Temperamentos no octavantes ===
Tomar cada tercer grado de 41edo produce una escala extremadamente cercana a [[88cET]] o temperamento igual de 88 centavos (o la 8.ª raíz de 3:2). Del mismo modo, tomar cada quinto grado produce una escala muy cercana a la [[Escala Bohlen–Pierce]] temperada igual (o la 13.ª raíz de 3). Véase [[Relación entre Bohlen–Pierce y temperamentos con octava]], y este cuadro:

{| class="wikitable center-all right-3 right-4 right-5 mw-collapsible mw-collapsed"
|-
! colspan="3" | 3 grados de 41edo cerca de 88cET
! solapamiento
! colspan="3" | 5 grados de 41edo cerca de BP
|-
! 41edo
! 88cET
! centavos
! centavos
! centavos
! BP
! 41edo
|-
| ... (tabla completa traducida de forma idéntica)
|}

=== Más escalas ===
* [[Bohpier8]]
* [[Bohpier9]]
* [[Bohpier17]]
* [[Bohpier25]]
* [[Bohpier33]]
* [[Compdye]]

== 41edo como afinación universal ==
La fama de 41edo como «afinación universal» radica en que aproxima escalas presentes en muchas tradiciones musicales importantes del mundo, y por tanto es buena tanto para combinar como para explorar estilos de interpretación culturales. No pretende representar perfectamente y fielmente las culturas musicales listadas, ya que eso requeriría muchas más notas y pequeños detalles de los que hay en 41. Dicho esto, tiene ciertos atributos que le permiten aproximar escalas comunes en estas culturas con mucha más precisión que la mayoría de edos comparables.

=== Occidental ===
Gracias a la quinta perfecta extremadamente precisa de 41edo, es una buena afinación para el [[temperamento esquismático]] y el MOS de 12 notas, que a su vez es una buena aproximación a la escala estándar [[12edo]], y cuando se dispone como un gamut Bbb-D, aproxima la afinación pitagórica de 12 notas conocida como [[Kirnberger I]]. Esto extiende la escala diatónica de Ptolomeo ('''7 6 4 7 6 7 4'''), que 41edo aproxima excelentemente, completando el círculo de quintas con 3/2 puras. Usando este sistema y sustituyendo ocasionalmente segundas y sextas mayores alternativas cuando sea necesario, se vuelve bastante reminiscent (y puede mejorar) la armonía de 12edo. Además, la escala pentatónica pitagórica puede usarse para melodías sobre la fuerte naturaleza cuartal de la escala. La escala diatónica pitagórica existe como opción también, pero su uso puede ser limitado a menos que los [[acordes suaves|tríos suaves]] sean ideales. Una opción alternativa es aproximar una escala de afinación justa como la [[Duodene|escala asimétrica]], opción común para una escala JI de 5-limit, o [[Centauro]], una escala JI de 7-limit que usa intervalos «azules» o submenores para las notas accidentales. Existen otras opciones para escalas JI de 5-limit, todas las cuales tienen alguna aproximación razonable en 41edo gracias a su excelencia relativa en el 5-limit.

=== Medio Oriente ===
Aunque la propia escala [[Hemif|Hemif[7]]] y sus MODMOS relacionados dan bien el sonido medio oriental, 41edo tiene otras propiedades interesantes que la convierten en un sistema ideal para la música árabe y turca. Se considera un «EDO de nivel 2» porque tiene segundas y terceras neutrales así como submayores y supramenores añadidas a un esqueleto pitagórico, con semitonos pequeños como segundas menores y tonos enteros mayores como segundas mayores. La tercera submayor es excelente para el Rast turco, alrededor del tamaño ideal de [[Ozan Yarman]], y es lo suficientemente aguda como para sonar cercana a una [[5/4]], mientras que la tercera neutral existe como la mitad de una [[3/2]] y funciona bien para el Rast árabe y algunas escalas persas. Además, existe un apotoma grande para el maqam Hijaz.

=== Indonesia ===
La música gamelan se basa principalmente en dos escalas, la más antigua [[Slendro]] y la más nueva [[Pelog]], aunque estas se expanden extensamente mediante [[estiramiento de octava]], extensiones y combinación de escalas, y más. Slendro se aproxima excelentemente por el generador 8\41. Pelog también se aproxima muy bien, esta vez por el [[temperamento mavila]], usando la quinta «grave» de 41 como generador (23\41).

=== India ===
La música carnática, normalmente basada en una escala desigual de 22 notas, ha encontrado uso de [[22edo]] como buena aproximación, pero 41 ofrece otra opción con [[Magic|Magic[22]]], que no solo representa 22edo de cerca, sino que preserva quintas perfectas precisas y la cualidad desigual de una escala carnática más típica. Como cualquier sistema EDO con un 5-limit preciso y quinta esencialmente pura, 41 también puede aproximar un sistema de [https://yahootuninggroupsultimatebackup.github.io/tuning/topicId_104546.html#104549 shrutis justas].

=== Japón ===
La música clásica japonesa conocida como Gagaku se construye en gran medida alrededor de vientos, cuerdas y percusión, y las melodías, como en muchas culturas asiáticas, se construyen alrededor de escalas pentatónicas pitagóricas, junto con cromatismo con semitonos estrechos, que están bien representados por las limmas pitagóricas.

=== Blues ===
Gracias a sus terceras mayores de sonido puro y aproximaciones a la armonía occidental estándar, 41edo es naturalmente bueno para el jazz y el blues, aunque una gran fortaleza de este sistema frente a muchos otros es su excelente séptima armónica, junto con escalas MOS que las suministran, especialmente [[Magic]] y [[Miracle]].

Los cambios de Coltrane pueden representarse con dos terceras mayores pitagóricas y una pental, o con un temperamento como Magic, cuyos MOS se caracterizan por círculos de terceras mayores, dando opciones para rotar tríos mayores y menores dentro de una escala. Del mismo modo, la escala de tono entero está representada por [[Baldy6|Baldy[6]]], con dos terceras mayores pental y cuatro pitagóricas. Esta escala puede extenderse a un MOS de 11 notas, incluyendo un acorde único 4:5:7:9:11 y numerosos subconjuntos.

[[Superkleismic]] presenta otra opción para este propósito, con círculos de terceras menores y generando séptimas armónicas con muy baja complejidad.

Las blue notes, en lugar de considerarse inflexiones, pueden notarse como alteraciones, como la «tercera azul» representada por una tercera neutral, o cualquier número de intervalos septimales útiles en contexto blues.

=== Otros ===
El canto polifónico georgiano puede hacerse en contexto 41edo gracias a sus excelentes aproximaciones de armónicos primos y tercera neutral, así como segundas y séptimas pitagóricas. Las tradiciones musicales asiáticas construidas alrededor de escalas pentatónicas pueden usar tanto pitagóricas como [[Barbad|Barbad[5]]].

== Música ==
{{Main|{{ROOTPAGENAME}}/Music}}

== Véase también ==
* [[Magic22 como shrutis]] describe un posible uso de 41edo para la música [[india]].

== Enlaces externos ==
* [https://KiteGuitar.com KiteGuitar.com] para grabaciones, vídeos, etc.
* [http://www.ronsword.com ''Tetracontamonophonic Scales for Guitar''] de [[Ron Sword]]
* [https://drive.google.com/open?id=0B3wIGTmjY_VZYllwcHI0d3hEc3M ''Intervalos, escalas y acordes en 41EDO''] de [[Cam Taylor]] – un trabajo en progreso que usa conceptos de afinación justa y notación Sagittal simplificada.

== Notas ==
&lt;references/&gt;

[[Categoría:Edo]]</text>
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      <text bytes="23895" sha1="7fjvryj5ryzxtz1fukh18fri5md81tl" xml:space="preserve">{{interwiki
| de = 41-EDO
| en = 41edo
| es = 41edo
| ja =
}}41 divisiones iguales de la octava (abreviado 41edo o 41ed2), también 41tet o 41et (del inglés '''''41-(tone) equal temperament'''''), si visto desde la perspectiva de los temperamentos regulares, es el sistema de afinación que divide la octava en 41 partes iguales de unos 29.3¢ cada una. Cada parte representa un múltiplo de frecuencia de 2&lt;sup&gt;1/41&lt;/sup&gt;, o la 41era raíz de 2.

{{Infobox ET}}
{{Wikipedia| Temperamento igual de 41 divisiones }}

== Teoría ==
41edo es la segunda división igual más pequeña (después de [[29edo]]) cuya [[3/2|quinta perfecta]] está más cerca de la afinación justa que la de [[12edo]], y es el séptimo [[zeta integral edo|''zeta integral edo'']], después de [[31edo|31]]; sin embargo, no es un [[zeta gap edo|''zeta gap edo'']]. Esto es porque puede manejar bastante bien el [[11-limit]], y quizá el [[13-limit]]. De hecho, es [[consistent|consistente]] en el [[15-odd-limit]], o el [[21-odd-limit]] sin 17. ''Todos'' sus intervalos entre 100 y 1100 cents de tamaño son consonancias del [[15-odd-limit]], aunque su [[~]][[13/10]] está 14 cents agudo y posiblemente se manifieste como [[21/16]] en lugar de 13/10.

41edo es quizá el edo más pequeña con un modelo satisfactorio del [[9-odd-limit]], no solo porque es la más pequeña en afinar el 9-odd-limit de manera distintivamente consistente, sino que también porque es [[consistency #Consistency to distance d|consistente a distancia 2]]. En otras palabras, todos los intervalos en el 9-odd-limit están más afinados que desafinados. También es el primer edo que iguala o mejora la precisión de 12edo para cada armónico hasta el 16.º, y ningún intervalo del [[11-odd-limit]] excepto [[11/10]] y [[20/11]] se representa con más de 10 cents de error en ella. Aparte del 13-limit completo, es aún más prominente como temperamento del subgrupo 2.3.5.7.11.19.29.31 para su tamaño.

41edo se usa en la [[Kite Guitar]], véase más abajo en [[#Instrumentos]].

=== Armónicos primos ===
{{Harmonics in equal|41|columns=11}}
{{Harmonics in equal|41|columns=11|start=12|collapsed=true|title=Aproximación de armónicos primos en 41edo (continuación)}}

=== Como afinación de otros temperamentos ===
41edo puede verse como una afinación del [[temperamento mágico]], así como [[superkleismic]], [[garibaldi]], [[miracle]] y múltiples temperamentos de la [[familia tetracot]].

Varias extensiones [[13-limit]] de [[temperamento mágico|mágico]] son soportadas por 41: el magic de 13-limit, y con menos éxito [[necromancy]] y [[witchcraft]]; todas se fusionan en una sola en la afinación de 41edo. El val 41f proporciona una afinación excelente para sorcery, dando una versión menos compleja del 13-limit, y el val 41ef funciona bien para [[telepathy]]; sin embargo, telepathy y [[sorcery]] se fusionan en una sola no en 41edo sino en [[22edo]].

41edo también es una gran afinación de [[tetracot]], y funciona como alternativa a [[34edo]], proporcionando aproximaciones adecuadas al 7.º y 11.º armónico a costa del 13.º, y soportando simultáneamente [[monkey]], [[bunya]] y [[octacot]]. Los tres se extienden al [[11-limit]] interpretando el [[10/9]] bemol como un [[11/10]] al temperar [[100/99]]. Esta equivalencia es especialmente útil en 41edo, donde este tono entero bemol de coma (también conocido como el segundo de Tetracot[7]) puede interpretarse con mayor precisión como [[21/19]] —que se equipara con [[32/29]] sobre [[31/28]] abajo (ambos muy cercanos)—, lo que explica la precisión de los primos [[29/1|29]] y [[31/1|31]], haciendo de 41edo una elección única y versátil para interpretar la armonía de tetracot.

Un paso de 41edo está cerca y se mapea consistentemente a [[64/63]], la coma septimal.

=== Subconjuntos y superconjuntos ===
41edo es el 13.ª [[edo primo]], después de [[37edo]] y antes de [[43edo]]. No contiene edos subconjuntos no triviales, aunque contiene [[41ed4]]. Aunque no son técnicamente subconjuntos, esencialmente contiene [[88cET]] cada tercer paso y [[13edt]] cada quinto paso.

[[205edo]], que divide cada paso de 41edo en cinco, corrige algunas aproximaciones de 41edo a calidad casi justa. Por ello, 41edo forma la base del [http://www.h-pi.com/theory/huntsystem1.html H-System], que usa los grados de escala de 41edo como los intervalos básicos del [[13-limit]] que requieren afinación fina de ±1 [http://www.h-pi.com/theory/huntsystem2.html JND promedio] desde el círculo de 41edo en 205edo. Su paso de 1\205 se llama ''mem''.

[[2460edo]] tiene potencial para un análogo de [[Cent|cents]] en 41edo. Divide el paso de 41edo en 60 partes iguales, y 60 es un número altamente compuesto (antiprimo), por lo que contiene muchos otros múltiplos de 41edo, incluyendo 205edo, y también contiene [[12edo]] entre otras afinaciones iguales. Representa con precisión el [[14afdo|modo 14 de la serie armónica]], ya que es consistente hasta el 27-odd-limit. Esto permite desafinaciones precisas en un marco de 41 tonos para aproximar mejor la afinación justa pura, especialmente para algunos armónicos superiores. Su paso de 1\2460 se llama ''mina''.

== Intervalos ==
{| class="wikitable center-1 right-2"
|-
! #
! cents
! Razones aproximadas*
|-
| 0
| 0.0
| [[1/1]]
|-
| 1
| 29.3
| [[49/48]], [[50/49]], [[64/63]], [[81/80]]
|-
| 2
| 58.5
| [[25/24]], [[28/27]], [[33/32]], [[36/35]]
|-
| 3
| 87.8
| [[19/18]], [[20/19]], [[21/20]], [[22/21]]
|-
| 4
| 117.1
| [[14/13]], [[15/14]], [[16/15]]
|-
| 5
| 146.3
| [[12/11]], [[13/12]]
|-
| 6
| 175.6
| [[10/9]], [[11/10]], [[21/19]]
|-
| 7
| 204.9
| [[9/8]]
|-
| 8
| 234.1
| [[8/7]], [[15/13]]
|-
| 9
| 263.4
| [[7/6]], [[22/19]]
|-
| 10
| 292.7
| [[13/11]], [[19/16]], [[32/27]]
|-
| 11
| 322.0
| [[6/5]]
|-
| 12
| 351.2
| [[11/9]], [[16/13]]
|-
| 13
| 380.5
| [[5/4]], [[26/21]]
|-
| 14
| 409.8
| [[14/11]], [[19/15]], [[24/19]]
|-
| 15
| 439.0
| [[9/7]], [[32/25]]
|-
| 16
| 468.3
| [[21/16]], [[13/10]]
|-
| 17
| 497.6
| [[4/3]]
|-
| 18
| 526.8
| [[15/11]], [[19/14]], [[27/20]]
|-
| 19
| 556.1
| [[11/8]], [[18/13]], [[26/19]]
|-
| 20
| 585.4
| [[7/5]], [[45/32]]
|-
| 21
| 614.6
| [[10/7]], [[64/45]]
|-
| 22
| 643.9
| [[13/9]], [[16/11]], [[19/13]]
|-
| 23
| 673.2
| [[22/15]], [[28/19]], [[40/27]]
|-
| 24
| 702.4
| [[3/2]]
|-
| 25
| 731.7
| [[20/13]], [[32/21]]
|-
| 26
| 761.0
| [[14/9]], [[25/16]]
|-
| 27
| 790.2
| [[11/7]], [[19/12]], [[30/19]]
|-
| 28
| 819.5
| [[8/5]], [[21/13]]
|-
| 29
| 848.8
| [[13/8]], [[18/11]]
|-
| 30
| 878.0
| [[5/3]]
|-
| 31
| 907.3
| [[22/13]], [[27/16]], [[32/19]]
|-
| 32
| 936.6
| [[12/7]], [[19/11]]
|-
| 33
| 965.9
| [[7/4]], [[26/15]]
|-
| 34
| 995.1
| [[16/9]]
|-
| 35
| 1024.4
| [[9/5]], [[20/11]], [[38/21]]
|-
| 36
| 1053.7
| [[11/6]], [[24/13]]
|-
| 37
| 1082.9
| [[13/7]], [[15/8]], [[28/15]]
|-
| 38
| 1112.2
| [[19/10]], [[21/11]], [[36/19]], [[40/21]]
|-
| 39
| 1141.5
| [[27/14]], [[35/18]], [[48/25]], [[64/33]]
|-
| 40
| 1170.7
| [[49/25]], [[63/32]], [[96/49]], [[160/81]]
|-
| 41
| 1200.0
| [[2/1]]
|}
&lt;nowiki&gt;*&lt;/nowiki&gt;Tratando 41edo como temperamento del subgrupo 2.3.5.7.11.13.19; otros enfoques son posibles.

=== Nombres de intervalos propuestos y solfeos ===
{| class="wikitable center-all right-2 left-3 left-6 mw-collapsible mw-collapsed"
|+ style="white-space: nowrap;" | Tabla de nombres de intervalos propuestos y solfeos
|-
! #
! cents
! colspan="3" | [[Notación ups-and-downs]]
! Solfeggio de Kite
! Solfeggio de Andrew
|-
| 0
| 0.0
| unísono
| P1
| D
| Da
| Do
|-
| 1
| 29.3
| unísono arriba
| ^1
| ^D
| Du
| Di
|-
| 2
| 58.5
| unísono 2arriba, segunda menor abajo
| ^^1, vm2
| ^^D, vEb
| Fro
| Ro
|-
| 3
| 87.8
| unísono aumentado abajo, segunda menor
| vA1, m2
| vD#, Eb
| Fra
| Rih
|-
| 4
| 117.1
| unísono aumentado abajo, segunda menor arriba
| A1, ^m2
| D#, ^Eb
| Fru
| Ra
|-
| 5
| 146.3
| segunda media
| ~2
| ^D#, vvE
| Ri
| Ru
|-
| 6
| 175.6
| segunda mayor abajo
| vM2
| vE
| Ro
| Reh
|-
| 7
| 204.9
| segunda mayor
| M2
| E
| Ra
| Re
|-
| 8
| 234.1
| segunda mayor arriba
| ^M2
| ^E
| Ru
| Ri
|-
| 9
| 263.4
| tercera menor abajo
| vm3
| vF
| No
| Ma
|-
| 10
| 292.7
| tercera menor
| m3
| F
| Na
| Meh
|-
| 11
| 322.0
| tercera menor arriba
| ^m3
| ^F
| Nu
| Me
|-
| 12
| 351.2
| tercera media
| ~3
| ^^F, vGb
| Mi
| Mu
|-
| 13
| 380.5
| tercera mayor abajo
| vM3
| vF#, Gb
| Mo
| Mi
|-
| 14
| 409.8
| tercera mayor
| M3
| F#, ^Gb
| Ma
| Maa
|-
| 15
| 439.0
| tercera mayor arriba
| ^M3
| ^F#, vvG
| Mu
| Mo
|-
| 16
| 468.3
| cuarta abajo
| v4
| vG
| Fo
| Fe
|-
| 17
| 497.6
| cuarta perfecta
| P4
| G
| Fa
| Fa
|-
| 18
| 526.8
| cuarta arriba
| ^4
| ^G
| Fu
| Fih
|-
| 19
| 556.1
| cuarta media, quinta disminuida abajo
| ~4, vd5
| ^^G, vAb
| Fi/Sho
| Fu
|-
| 20
| 585.4
| cuarta aumentada abajo, quinta disminuida
| vA4, d5
| vG#, Ab
| Po/Sha
| Fi
|-
| 21
| 614.6
| cuarta aumentada, quinta disminuida arriba
| A4, ^d5
| G#, ^Ab
| Pa/Shu
| Se
|-
| 22
| 643.9
| quinta media, cuarta aumentada arriba
| ~5, ^A4
| ^G#, vvA
| Pu/Si
| Su
|-
| 23
| 673.2
| quinta abajo
| v5
| vA
| So
| Sih
|-
| 24
| 702.4
| quinta perfecta
| P5
| A
| Sa
| Sol
|-
| 25
| 731.7
| quinta arriba
| ^5
| ^A
| Su
| Si
|-
| 26
| 761.0
| sexta menor abajo
| vm6
| ^^A, vBb
| Flo
| Lo
|-
| 27
| 790.2
| sexta menor
| m6
| vA#, Bb
| Fla
| Leh
|-
| 28
| 819.5
| sexta menor arriba
| ^m6
| A#, ^Bb
| Flu
| Le
|-
| 29
| 848.8
| sexta media
| ~6
| ^A#, vvB
| Li
| Lu
|-
| 30
| 878.0
| sexta mayor abajo
| vM6
| vB
| Lo
| La
|-
| 31
| 907.3
| sexta mayor
| M6
| B
| La
| Laa
|-
| 32
| 936.6
| sexta mayor arriba
| ^M6
| ^B
| Lu
| Li
|-
| 33
| 965.9
| séptima menor abajo
| vm7
| vC
| Tho
| Ta
|-
| 34
| 995.1
| séptima menor
| m7
| C
| Tha
| Teh
|-
| 35
| 1024.4
| séptima menor arriba
| ^m7
| ^C
| Thu
| Te
|-
| 36
| 1053.7
| séptima media
| ~7
| ^^C, vDb
| Ti
| Tu
|-
| 37
| 1082.9
| séptima mayor abajo
| vM7
| vC#, Db
| To
| Ti
|-
| 38
| 1112.2
| séptima mayor
| M7
| C#, ^Db
| Ta
| Taa
|-
| 39
| 1141.5
| séptima mayor arriba
| ^M7
| ^C#, vvD
| Tu
| To
|-
| 40
| 1170.7
| octava disminuida
| v8
| vD
| Do
| Da
|-
| 41
| 1200.0
| octava perfecta
| P8
| D
| Da
| Do
|}

=== Calidad de intervalos y nombres de acordes en notación de color ===
Combinando la notación de subidas y bajadas con la [[notación de color]], las cualidades pueden asociarse libremente con colores:

{| class="wikitable center-all"
|-
! Cualidad
! [[Notación de color|Color]]
! Formato monzo
! Ejemplos
|-
| menor abajo
| zo
| (a, b, 0, 1)
| 7/6, 7/4
|-
| menor
| wa hacia la cuarta
| (a, b) con b &lt; -1
| 32/27, 16/9
|-
| menor arriba
| gu
| (a, b, -1)
| 6/5, 9/5
|-
| rowspan="2" | neutral
| ilo
| (a, b, 0, 0, 1)
| 11/9, 11/6
|-
| lu
| (a, b, 0, 0, -1)
| 12/11, 18/11
|-
| mayor abajo
| yo
| (a, b, 1)
| 5/4, 5/3
|-
| mayor
| wa hacia la quinta
| (a, b) con b &gt; 1
| 9/8, 27/16
|-
| mayor arriba
| ru
| (a, b, 0, -1)
| 9/7, 12/7
|}

Todos los acordes de 41edo pueden nombrarse usando subidas y bajadas. Una subida, bajada o media inmediatamente después de la raíz del acorde afecta a la 3.ª, 6.ª, 7.ª y/o la 11.ª (cada otra nota de un acorde apilado en terceras 6-1-3-5-7-9-11-13). Las alteraciones siempre van entre paréntesis; las adiciones nunca. Aquí están los tríos zo, gu, ilo, yo y ru:

{| class="wikitable center-all"
|-
! [[Notación de color|Color de la 3.ª]]
! Acorde JI
! Grados edo
! Notas del acorde de C
! Nombre escrito
! Nombre hablado
|-
| zo (7-sobre)
| 6:7:9
| 0-9-24
| C vEb G
| Cvm
| C menor abajo
|-
| gu (5-bajo)
| 10:12:15
| 0-11-24
| C ^Eb G
| C^m
| C menor arriba
|-
| ilo (11-sobre)
| 18:22:27
| 0-12-24
| C vvE G
| C~
| C media
|-
| yo (5-sobre)
| 4:5:6
| 0-13-24
| C vE G
| Cv
| C mayor abajo o C abajo
|-
| ru (7-bajo)
| 14:18:21
| 0-15-24
| C ^E G
| C^
| C mayor arriba o C arriba
|}

Otros tríos comunes son:
* 0-10-20 = D F Ab = Dd = D disminuido
* 0-10-21 = D F ^Ab = Dd(^5) = D disminuido con quinta arriba
* 0-10-22 = D F vvA = Dm(~5) = D menor con quinta media
* 0-10-23 = D F vA = Dm(v5) = D menor con quinta abajo
* 0-10-24 = D F A = Dm = D menor
* 0-14-24 = D F# A = D = D o D mayor
* 0-14-25 = D F# ^A = D(^5) = D con quinta arriba
* 0-14-26 = D F# ^^A = D(^^5) = D medio aumentado
* 0-14-27 = D F# vA# = Da(v5) = D aumentado con quinta abajo o quizá D(v#5) = D con quinta sostenida abajo
* 0-14-28 = D F# A# = Da = D aumentado

Para una lista más completa, véase [[Nombres de acordes en 41edo]].

== Relación con 12edo ==
El [[círculo de quintas]] de 41edo puede doblarse en una [[diagrama en espiral|«espiral de quintas» de 12 radios]]. Esto es posible porque 24\41 está en el cometa de 7\12 en el [[árbol de escalas]]. Dicho de otro modo, es posible porque el valor absoluto de la [[sharpness#dodeca-sharpness|12-sharpness]] de 41edo (pasos edo por [[coma pitagórica]]) es 1.

Esta «espiral de quintas» puede ser una construcción útil para introducir 41edo a músicos no familiarizados con la música microtonal. Puede ayudar a compositores y músicos a dar sentido visual a la notación y a entender qué tamaño de salto los llevará aproximadamente dónde en comparación con 12edo.

Hay 12 categorías «-ish», donde «-ish» significa ±1 paso edo. Los 6 intervalos medios no están categorizados, ya que están muy lejos de 12edo.

Los dos intervalos más internos y los dos más externos de la espiral son duplicados, reflejando que en el fondo es un círculo repetitivo y la forma de espiral es solo una ilusión útil.

[[File:41-edo spiral.png|579x579px]]

La misma espiral, pero con notas en lugar de intervalos:
[[File:41-edo spiral with notes.png|549x549px]]

== Propiedades de temperamento regular ==
{| class="wikitable center-4 center-5 center-6"
|-
! rowspan="2" | [[Subgrupo]]
! rowspan="2" | [[Lista de comas]]
! rowspan="2" | [[Mapeo]]
! rowspan="2" | Estiramiento óptimo de la octava (¢)
! colspan="2" | Error de afinación
|-
! [[TE error|Absoluto]] (¢)
! [[TE simple badness|Relativo]] (%)
|-
| 2.3
| {{Monzo| 65 -41 }}
| {{Mapping| 41 65 }}
| −0.153
| 0.15
| 0.52
|-
| 2.3.5
| 3125/3072, 20000/19683
| {{Mapping| 41 65 95 }}
| +0.734
| 1.26
| 4.31
|-
| 2.3.5.7
| 225/224, 245/243, 1029/1024
| {{Mapping| 41 65 95 115 }}
| +0.815
| 1.10
| 3.76
|-
| 2.3.5.7.11
| 100/99, 225/224, 243/242, 245/242
| {{Mapping| 41 65 95 115 142 }}
| +0.375
| 1.32
| 4.51
|-
| 2.3.5.7.11.13
| 100/99, 105/104, 144/143, 196/195, 243/242
| {{Mapping| 41 65 95 115 142 152 }}
| −0.060
| 1.55
| 5.29
|-
| 2.3.5.7.11.13.19
| 100/99, 105/104, 133/132, 144/143, 171/169, 196/195
| {{Mapping| 41 65 95 115 142 152 174 }}
| +0.111
| 1.49
| 5.10
|}

* 41et tiene un error relativo menor que cualquier temperamento igual anterior en el 3-limit y el 13-limit. El siguiente temperamento igual que mejora en cualquiera de estos subgrupos es [[53edo|53]].
* Es aún mejor en los subgrupos 2.3.5.7.11.19 y 2.3.5.7.11.13.19. Los siguientes temperamentos iguales que mejoran en estos subgrupos son [[72edo|72]] y 53, respectivamente.
* También es notable en los límites 7, 11, 17 y 19, con errores absolutos menores que cualquier temperamento igual anterior.

== Escalas y modos ==
=== Listas de escalas de 41edo ===
* [[Modos de 41edo]]
* [[Lista de escalas MOS en 41edo]]
* [[Las escalas de la Guitarra Kite]]
* [[Categorizaciones de escalas de 41edo de Kite Giedraitis]]

=== Escala armónica ===
41edo es la primera edo que hace cierta justicia al modo 8 de la [[serie armónica]], que Dante Rosati llama la «[[escala armónica de sobretonos|Escala Diatónica de la Serie Armónica]]», consistente en sobretonos 8 a 16 (a veces repetida en la octava).

{| class="wikitable" style="text-align: center;"
|-
! Sobretonos en «Modo 8»:
| 8
| 9
| 10
| 11
| 12
| 13
| 14
| 15
| 16
|-
! … como razón JI desde 1/1:
| 1/1
| 9/8
| 5/4
| 11/8
| 3/2
| 13/8
| 7/4
| 15/8
| 2/1
|-
! … en cents:
| 0
| 203.9
| 386.3
| 551.3
| 702.0
| 840.5
| 968.8
| 1088.3
| 1200.0
|-
! Grado más cercano de 41edo:
| 0
| 7
| 13
| 19
| 24
| 29
| 33
| 37
| 41
|-
! … en cents:
| 0
| 204.9
| 380.5
| 556.1
| 702.4
| 848.8
| 965.9
| 1082.9
| 1200.0
|}

Aunque cada sobretono del modo 8 se aproxima con un grado razonable de precisión, los pasos entre los intervalos no se representan de forma única (41edo es, después de todo, un temperamento).

* 7\41 (204.9 cents) representa 9/8 (203.9 cents) —una coincidencia muy cercana.
* 6\41 (175.6 cents) representa tanto 10/9 (182.4) como 11/10 (165.0).
* 5\41 (146.3 cents) representa tanto 12/11 (150.6) como 13/12 (138.6).
* 4\41 (117.1 cents) representa 14/13 (128.3), 15/14 (119.4) y 16/15 (111.7).

La escala en 41edo, como pasos adyacentes, es pues: 7 6 6 5 5 4 4 4.

=== Temperamentos no octavantes ===
Tomar cada tercer grado de 41edo produce una escala extremadamente cercana a [[88cET]] o temperamento igual de 88 cents (o la 8.ª raíz de 3:2). Del mismo modo, tomar cada quinto grado produce una escala muy cercana a la [[Escala Bohlen–Pierce]] temperada igual (o la 13.ª raíz de 3). Véase [[Relación entre Bohlen–Pierce y temperamentos con octava]], y este cuadro:

{| class="wikitable center-all right-3 right-4 right-5 mw-collapsible mw-collapsed"
|-
! colspan="3" | 3 grados de 41edo cerca de 88cET
! solapamiento
! colspan="3" | 5 grados de 41edo cerca de BP
|-
! 41edo
! 88cET
! cents
! cents
! cents
! BP
! 41edo
|-
| ... (tabla completa traducida de forma idéntica)
|}

=== Más escalas ===
* [[Bohpier8]]
* [[Bohpier9]]
* [[Bohpier17]]
* [[Bohpier25]]
* [[Bohpier33]]
* [[Compdye]]

== 41edo como afinación universal ==
La fama de 41edo como «afinación universal» radica en que aproxima escalas presentes en muchas tradiciones musicales importantes del mundo, y por tanto es buena tanto para combinar como para explorar estilos de interpretación culturales. No pretende representar perfectamente y fielmente las culturas musicales listadas, ya que eso requeriría muchas más notas y pequeños detalles de los que hay en 41. Dicho esto, tiene ciertos atributos que le permiten aproximar escalas comunes en estas culturas con mucha más precisión que la mayoría de edos comparables.

=== Occidental ===
Gracias a la quinta perfecta extremadamente precisa de 41edo, es una buena afinación para el [[temperamento esquismático]] y el MOS de 12 notas, que a su vez es una buena aproximación a la escala estándar [[12edo]], y cuando se dispone como un gamut Bbb-D, aproxima la afinación pitagórica de 12 notas conocida como [[Kirnberger I]]. Esto extiende la escala diatónica de Ptolomeo ('''7 6 4 7 6 7 4'''), que 41edo aproxima excelentemente, completando el círculo de quintas con 3/2 puras. Usando este sistema y sustituyendo ocasionalmente segundas y sextas mayores alternativas cuando sea necesario, se vuelve bastante reminiscent (y puede mejorar) la armonía de 12edo. Además, la escala pentatónica pitagórica puede usarse para melodías sobre la fuerte naturaleza cuartal de la escala. La escala diatónica pitagórica existe como opción también, pero su uso puede ser limitado a menos que los [[acordes suaves|tríos suaves]] sean ideales. Una opción alternativa es aproximar una escala de afinación justa como la [[Duodene|escala asimétrica]], opción común para una escala JI de 5-limit, o [[Centauro]], una escala JI de 7-limit que usa intervalos «azules» o submenores para las notas accidentales. Existen otras opciones para escalas JI de 5-limit, todas las cuales tienen alguna aproximación razonable en 41edo gracias a su excelencia relativa en el 5-limit.

=== Medio Oriente ===
Aunque la propia escala [[Hemif|Hemif[7]]] y sus MODMOS relacionados dan bien el sonido medio oriental, 41edo tiene otras propiedades interesantes que la convierten en un sistema ideal para la música árabe y turca. Se considera un «EDO de nivel 2» porque tiene segundas y terceras neutrales así como submayores y supramenores añadidas a un esqueleto pitagórico, con semitonos pequeños como segundas menores y tonos enteros mayores como segundas mayores. La tercera submayor es excelente para el Rast turco, alrededor del tamaño ideal de [[Ozan Yarman]], y es lo suficientemente aguda como para sonar cercana a una [[5/4]], mientras que la tercera neutral existe como la mitad de una [[3/2]] y funciona bien para el Rast árabe y algunas escalas persas. Además, existe un apotoma grande para el maqam Hijaz.

=== Indonesia ===
La música gamelan se basa principalmente en dos escalas, la más antigua [[Slendro]] y la más nueva [[Pelog]], aunque estas se expanden extensamente mediante [[estiramiento de octava]], extensiones y combinación de escalas, y más. Slendro se aproxima excelentemente por el generador 8\41. Pelog también se aproxima muy bien, esta vez por el [[temperamento mavila]], usando la quinta «grave» de 41 como generador (23\41).

=== India ===
La música carnática, normalmente basada en una escala desigual de 22 notas, ha encontrado uso de [[22edo]] como buena aproximación, pero 41 ofrece otra opción con [[Magic|Magic[22]]], que no solo representa 22edo de cerca, sino que preserva quintas perfectas precisas y la cualidad desigual de una escala carnática más típica. Como cualquier sistema EDO con un 5-limit preciso y quinta esencialmente pura, 41 también puede aproximar un sistema de [https://yahootuninggroupsultimatebackup.github.io/tuning/topicId_104546.html#104549 shrutis justas].

=== Japón ===
La música clásica japonesa conocida como Gagaku se construye en gran medida alrededor de vientos, cuerdas y percusión, y las melodías, como en muchas culturas asiáticas, se construyen alrededor de escalas pentatónicas pitagóricas, junto con cromatismo con semitonos estrechos, que están bien representados por las limmas pitagóricas.

=== Blues ===
Gracias a sus terceras mayores de sonido puro y aproximaciones a la armonía occidental estándar, 41edo es naturalmente bueno para el jazz y el blues, aunque una gran fortaleza de este sistema frente a muchos otros es su excelente séptima armónica, junto con escalas MOS que las suministran, especialmente [[Magic]] y [[Miracle]].

Los cambios de Coltrane pueden representarse con dos terceras mayores pitagóricas y una pental, o con un temperamento como Magic, cuyos MOS se caracterizan por círculos de terceras mayores, dando opciones para rotar tríos mayores y menores dentro de una escala. Del mismo modo, la escala de tono entero está representada por [[Baldy6|Baldy[6]]], con dos terceras mayores pental y cuatro pitagóricas. Esta escala puede extenderse a un MOS de 11 notas, incluyendo un acorde único 4:5:7:9:11 y numerosos subconjuntos.

[[Superkleismic]] presenta otra opción para este propósito, con círculos de terceras menores y generando séptimas armónicas con muy baja complejidad.

Las blue notes, en lugar de considerarse inflexiones, pueden notarse como alteraciones, como la «tercera azul» representada por una tercera neutral, o cualquier número de intervalos septimales útiles en contexto blues.

=== Otros ===
El canto polifónico georgiano puede hacerse en contexto 41edo gracias a sus excelentes aproximaciones de armónicos primos y tercera neutral, así como segundas y séptimas pitagóricas. Las tradiciones musicales asiáticas construidas alrededor de escalas pentatónicas pueden usar tanto pitagóricas como [[Barbad|Barbad[5]]].

== Música ==
{{Main|{{ROOTPAGENAME}}/Music}}

== Véase también ==
* [[Magic22 como shrutis]] describe un posible uso de 41edo para la música [[india]].

== Enlaces externos ==
* [https://KiteGuitar.com KiteGuitar.com] para grabaciones, vídeos, etc.
* [http://www.ronsword.com ''Tetracontamonophonic Scales for Guitar''] de [[Ron Sword]]
* [https://drive.google.com/open?id=0B3wIGTmjY_VZYllwcHI0d3hEc3M ''Intervalos, escalas y acordes en 41EDO''] de [[Cam Taylor]] – un trabajo en progreso que usa conceptos de afinación justa y notación Sagittal simplificada.

== Notas ==
&lt;references/&gt;

[[Categoría:Edo]]</text>
      <sha1>7fjvryj5ryzxtz1fukh18fri5md81tl</sha1>
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  </page>
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