User:Nick Vuci/TonalityDiamond: Difference between revisions
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Moved to [[Tonality diamond|main space]] 11 MAY 2025 by [[User:Sintel|Sintel]] | |||
A '''tonality diamond''' is a symmetric organization of [[Otonality and utonality|otonal and utonal]] chords based around a central note and bounded by an [[Odd limit|odd-limit]]. First formalized in the [[7-odd-limit]] by [[wikipedia:Max_Friedrich_Meyer|Max F. Meyer]] in 1929, the idea became central to the music and theories of [[Harry Partch]], who built his tonal system around the [[11-odd-limit]] tonality diamond. Tonality diamonds have been used both conceptually (such as for [[Target tuning|targets]] of [[temperaments]]) and practically (such as for instrument layouts) in xenharmonics ever since. | A '''tonality diamond''' is a symmetric organization of [[Otonality and utonality|otonal and utonal]] chords based around a central note and bounded by an [[Odd limit|odd-limit]]. First formalized in the [[7-odd-limit]] by [[wikipedia:Max_Friedrich_Meyer|Max F. Meyer]] in 1929, the idea became central to the music and theories of [[Harry Partch]], who built his tonal system around the [[11-odd-limit]] tonality diamond. Tonality diamonds have been used both conceptually (such as for [[Target tuning|targets]] of [[temperaments]]) and practically (such as for instrument layouts) in xenharmonics ever since. | ||
[https://nickvuci.github.io/wiki-applets/tonalityDiamond.html | |||
'''[https://nickvuci.github.io/wiki-applets/TonalityDiamond/tonalityDiamond.html Play with tonality diamonds in your browser here.]''' | |||
== Construction == | == Construction == | ||
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* numerically (ie, 1 3 5 7 9 11) as in Meyer's 7-limit diamond | * numerically (ie, 1 3 5 7 9 11) as in Meyer's 7-limit diamond | ||
* tonally (ie, 1 9 5 11 3 7) as in Partch's 11-limit diamond | * tonally (ie, 1 9 5 11 3 7) as in Partch's 11-limit diamond | ||
* chordally (ie, 1 5 3 7 9 11) as in the layout for the Diamond Marimba | * chordally (ie, 1 5 3 7 9 11) as in the layout for the Diamond Marimba | ||
Here's a short video illustrating the interlocking nature of the otonal and utonal chords and constant presence of the 1/1 interval in the 5-limit tonality diamond: | |||
[[File:5-Limit_Tonality_Diamond_original_format.mp4|1000x400px|center]] | |||
== History == | == History == | ||
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Harry Partch is the person most associated with the tonality diamond, and claimed to have invented it. However, it is likely that he plagarized the idea from Meyer.<ref>[https://www.chrysalis-foundation.org/wp-content/uploads/ThePartchHoaxDoctrines.pdf Forster, Cris (2015). ''The Partch Hoax Doctrines''. Self-published.]</ref> Regardless, his extending of the concept to the 11-odd-limit (as well as his other extensions and uses of it) was an extremely important and foundational moment in the history of xenharmonic music. | Harry Partch is the person most associated with the tonality diamond, and claimed to have invented it. However, it is likely that he plagarized the idea from Meyer.<ref>[https://www.chrysalis-foundation.org/wp-content/uploads/ThePartchHoaxDoctrines.pdf Forster, Cris (2015). ''The Partch Hoax Doctrines''. Self-published.]</ref> Regardless, his extending of the concept to the 11-odd-limit (as well as his other extensions and uses of it) was an extremely important and foundational moment in the history of xenharmonic music. | ||
[[Erv Wilson]] in particular was inspired by Partch's use of the tonality diamond and it's extended form. He developed a number of "diamonds" himself,<ref>[https://anaphoria.com/diamond.pdf Wilson, Erv. ''Letters on Diamond Lattices, 1965–1970'' (PDF). Self-published.]</ref> as well as other concepts based on Partch's extended tonality diamond such as "[[constant structure]]."<ref>[https://www.anaphoria.com/Partchpapers.pdf Wilson, Erv. ''The Partch Papers (collection of documents on Harry Partch’s 11-limit diamond and its extensions), 1964-2002'' (PDF). Self-published.] </ref> | [[Erv Wilson]] in particular was inspired by Partch's use of the tonality diamond and it's extended form. He developed a number of "diamonds" himself,<ref>[https://anaphoria.com/diamond.pdf Wilson, Erv. ''Letters on Diamond Lattices, 1965–1970'' (PDF). Self-published.]</ref> as well as other concepts based on Partch's extended tonality diamond such as "[[constant structure]]."<ref>[https://www.anaphoria.com/Partchpapers.pdf Wilson, Erv. ''The Partch Papers (collection of documents on Harry Partch’s 11-limit diamond and its extensions), 1964-2002'' (PDF). Self-published.] </ref> A related idea of Wilson's is the "[[Cross-set scale|cross-set]]," of which the tonality diamond is a special case. | ||
The first novel xenharmonic temperament — [[George Secor|George Secor's]] later-named "[[Miracle]]" temperament — was made to approximate Partch's 11-limit diamond.<ref>[https://www.anaphoria.com/SecorMiracle.pdf Secor, George (1975). “A New Look at the Partch Monophonic Fabric.” ''Xenharmonicon''. Vol. 3]</ref><ref>[https://www.anaphoria.com/SecorMiracle.pdf Secor, George. "The Miracle Temperament and Decimal Keyboard". ''Xenharmonikon''. Vol. 18. 2006. pp. 5–15. © 2003.]</ref> | The first novel xenharmonic temperament — [[George Secor|George Secor's]] later-named "[[Miracle]]" temperament — was made to approximate Partch's 11-limit diamond.<ref>[https://www.anaphoria.com/SecorMiracle.pdf Secor, George (1975). “A New Look at the Partch Monophonic Fabric.” ''Xenharmonicon''. Vol. 3]</ref><ref>[https://www.anaphoria.com/SecorMiracle.pdf Secor, George. "The Miracle Temperament and Decimal Keyboard". ''Xenharmonikon''. Vol. 18. 2006. pp. 5–15. © 2003.]</ref> | ||
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== References == | == References == | ||
<references /> | |||
== External links == | |||
* [[wikipedia:Tonality_diamond|Wikipedia page on tonality diamonds]] | |||
* [http://www.tonalsoft.com/enc/t/tonality-diamond.aspx Tonalsoft page on tonality diamonds] | |||
* [https://www.chrysalis-foundation.org/musical-mathematics-pages/meyer-diamond/ Cris Forster's site on Meyer's tonality diamond] | |||