Flora's analysis on septimal voice leading: Difference between revisions

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<onlyinclude>In [[User:FloraC/Analysis on the 13-limit just intonation space|''Analysis on the 13-limit ~~just intonation space~~'']], Flora Canou explained how 28/27 is suitable for the role of voice leading. To quickly show the background, we notice that [[just intonation]] can be viewed as an expansion of the [[Pythagorean tuning]], where the interval classes are determined by pure fifths, and each has a number of varieties differing from each other by a formal comma. So the Pythagorean scale is thought of as the backbone, inflected by commas to add to its "colors". In 7-limit specifically, the formal commas are the syntonic comma, [[81/80]], and the septimal comma, [[64/63]].

<onlyinclude>In [[User:FloraC/Analysis on the 13-limit just intonation space: episode i|''Analysis on the 13-limit Just Intonation Space: Episode I'']], Flora Canou explained how 28/27 is suitable for the role of voice leading. To quickly show the background, we notice that [[just intonation]] can be viewed as an expansion of the [[Pythagorean tuning]], where the interval classes are determined by pure fifths, and each has a number of varieties differing from each other by a formal comma. So the Pythagorean scale is thought of as the backbone, inflected by commas to add to its "colors". In 7-limit specifically, the formal commas are the syntonic comma, [[81/80]], and the septimal comma, [[64/63]].

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81/80 translates a Pythagorean interval to a classical one. What is its septimal counterpart, which translates a Pythagorean interval to a septimal one? The answer is 64/63, the septimal comma.

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Actually, septimal harmony entail different chord structures from classical ones, and 21/20 has a niche from this perspective. This will be discussed in Chapter VII.

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[[Category:Regular temperament theory]]

[[Category:~~Impression~~]]

[[Category:Essays]]

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-<onlyinclude>In [[User:FloraC/Analysis on the 13-limit just intonation space|''Analysis on the 13-limit just intonation space'']], Flora Canou explained how 28/27 is suitable for the role of voice leading. To quickly show the background, we notice that [[just intonation]] can be viewed as an expansion of the [[Pythagorean tuning]], where the interval classes are determined by pure fifths, and each has a number of varieties differing from each other by a formal comma. So the Pythagorean scale is thought of as the backbone, inflected by commas to add to its "colors". In 7-limit specifically, the formal commas are the syntonic comma, [[81/80]], and the septimal comma, [[64/63]].
+<onlyinclude>In [[User:FloraC/Analysis on the 13-limit just intonation space: episode i|''Analysis on the 13-limit Just Intonation Space: Episode I'']], Flora Canou explained how 28/27 is suitable for the role of voice leading. To quickly show the background, we notice that [[just intonation]] can be viewed as an expansion of the [[Pythagorean tuning]], where the interval classes are determined by pure fifths, and each has a number of varieties differing from each other by a formal comma. So the Pythagorean scale is thought of as the backbone, inflected by commas to add to its "colors". In 7-limit specifically, the formal commas are the syntonic comma, [[81/80]], and the septimal comma, [[64/63]].
-<div style="font-style: italic; border: 1px solid silver; margin: 15px; padding: 15px;">
+<blockquote>
 /80 translates a Pythagorean interval to a classical one. What is its septimal counterpart, which translates a Pythagorean interval to a septimal one? The answer is 64/63, the septimal comma.
@@ Line 39: / Line 39: @@
 Actually, septimal harmony entail different chord structures from classical ones, and 21/20 has a niche from this perspective. This will be discussed in Chapter VII.
-</div></onlyinclude>
+</blockquote></onlyinclude>
 [[Category:Regular temperament theory]]
-[[Category:Impression]]
+[[Category:Essays]]