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| <h2>IMPORTED REVISION FROM WIKISPACES</h2>
| | #REDIRECT [[Just intonation]] |
| This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
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| : This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2012-01-29 06:08:35 UTC</tt>.<br>
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| : The original revision id was <tt>296282210</tt>.<br>
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| : The revision comment was: <tt></tt><br>
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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.<br>
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| <h4>Original Wikitext content:</h4>
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| <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">[[toc|flat]]
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| ----
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| =Just Intonation explained=
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| JHI, or [[Just Intonation]] describes [[Gallery of Just Intervals|intervals]] between pitches by specifying ratios (of [[http://en.wikipedia.org/wiki/Rational_number|rational numbers]]) between the frequencies of pitches. This is sometimes distinguished from //rational intonation// by requiring that the ratios be ones of low complexity (as for example measured by [[Tenney height]]) but there is no clear dividing line. The matter is partially a question of intent. The rank two tuning system in which all intervals are given as combinations of the just perfect fourth, 4/3, and the just minor third, 6/5, would seem to be a nonoctave 5-limit just intonation system by definition. In practice, it can hardly be used except as a rank two 7-limit [[Microtempering|microtempering]] system because of certain very accurate approximations to the octave and to seven limit intervals: (6/5)^2/(4/3) = 27/25, the semitone maximus or just minor second; and (27/25)^9 is less than a cent short of an octave, while (27/25)^2 is almost precisely 7/6, the [[http://en.wikipedia.org/wiki/Septimal_minor_third|septimal minor third]].
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| If you are used to speaking only in note names, you may need to study the relation between frequency and [[http://en.wikipedia.org/wiki/Pitch_%28music%29|pitch]]. Kyle Gann's //[[http://www.kylegann.com/tuning.html|Just Intonation Explained]]// is one good reference. A transparent illustration and one of just intonation's acoustic bases is the [[OverToneSeries|harmonic series]].
| | [[Category:Acronyms]] |
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| =Just Intonation used=
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| The use of just intonation could be divided into these two flavors:
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| ==Free Style Just==
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| = =
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| Lou Harrison used this term; it means that you choose just-intonation pitches, from the set of all possible just intervals (not from a mode or scale), as you use them in music. Dedicated page -> [[FreeStyleJI]]
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| ==Constrained Just==
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| (In need of a better name maybe) Here are six ways that musicians and theorists have constrained the field of potential just ratios (from Jacques Dudon, "Differential Coherence", //1/1// vol. 11, no. 2: p.1):
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| //1. The principle of "[[Harmonic Limit|harmonic limits]]," which sets a threshold in order to place a limit on the largest prime number in any ratio (cf: Tanner's "psycharithmes" and his ordering by complexity; Gioseffe Zarlino's five-limit "senario," and the like; Helmholtz's theory of consonance with its "blending of partials," which, like the others, results in giving priority to the lowest prime numbers).//
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| //2. Restrictions on the combinations of numbers that make up the numerator and denominator of the ratios under consideration, such as the "monophonic" system of [[http://en.wikipedia.org/wiki/Harry_Partch|Harry Partch]]'s [[http://en.wikipedia.org/wiki/Pitch_%28music%29|tonality diamond]]. This, incidentially, is an eleven-limit system that only makes use of ratios of the form n:d, where n and d are drawn only from harmonics 1,3 5 7 9, 11, or their octaves.//
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| //3. Other theorists who, in contrast to the above, advocate the use of [[http://en.wikipedia.org/wiki/Hexany|products sets]] of given arrays of prime numbers, such as [[http://en.wikipedia.org/wiki/Erv_Wilson|Ervin Wilson]],////Robert Dussaut,// //and others.//
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| //4. [[Just intonation subgroups|Restrictions on the variety of prime numbers]] used within a system, for example, 3 used with only one [sic, also included is 2] other prime 7, 11, or 13.... This is quite common practice with Ptolemy, Ibn-Sina, Al-Farabi, and Saf-al-Din, and with numerous contemporary composers working in Just Intonation.//
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| //5. Restricting the denominator to one or very few values (the [[OverToneSeries|harmonic series]]).//
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| //6. Restricting the numerator to one or a very few values (the [[subharmonic series]] or [[aliquot scales]]).//
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| to this can be added
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| //7. The use of// //harmonic// //mediants as was common with the Ancient Greeks. This can also involve further divisions besides two parts as seen with Ptolemy sometimes using 3 parts. The Chinese have historically used as many as 10 parts.//
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| //8. While related to the above, the use of recurrent sequences is by some included under JI as it involves whole numbers. Wilson's [[http://anaphoria.com/wilsonintroMERU.html|Meru scales]] are a good example as well as Jacques Dudon//
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| =Variations on 'Just'=
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| [[Regular Temperaments]] are just intonation systems of various [[harmonic limits]] with certain commas 'tempered out'
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| [[AdaptiveJI|Adaptive JI]]
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| =Links=
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| [[hypergenesis58.scl|58 note 11 limit JI]] - hyper-Partchian!
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| [[Hahn distance]]
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| [[Gallery of Just Intervals]]
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| [[Gallery of 12-tone Just Intonation Scales]]
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| [[boogiewoogiescale|Boogie woogie scale]]
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| [[Arnold Dreyblatt]]
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| [[Gallery of pentatonics]]
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| [[FiniteSubsetJI]]
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| =Articles=
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| * [[http://en.wikipedia.org/wiki/Just_intonation|Wikipedia article on just intonation]]
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| * [[http://nowitzky.hostwebs.com/justint/|Just Intonation]] by Mark Nowitzky [http://www.webcitation.org/5xeAm2lPL|Permalink]][[http://www.webcitation.org/5xeAm2lPL|Permalink]]
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| * [[http://www.kylegann.com/tuning.html|Just Intonation Explained]] by Kyle Gann [[http://www.webcitation.org/5xe2iC7Nq|Permalink]]
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| * [[http://www.kylegann.com/Octave.html|Anatomy of an Octave]] by Kyle Gann [[http://www.webcitation.org/5xe30LCev|Permalink]]
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| * [[http://www.dbdoty.com/Words/What-is-Just-Intonation.html|What is Just Intonation?]] by David B. Doty [[http://www.webcitation.org/5xe3MeWVq|Permalink]]
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| * [[http://www.dbdoty.com/Words/werntz.html|A Response to Julia Werntz]] by David B. Doty [[http://www.webcitation.org/5xe38KWx4|Permalink]]
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| * [[http://lumma.org/tuning/gws/commaseq.htm|Comma Sequences]] by Gene Ward Smith [[http://www.webcitation.org/5xe4rPLZ0|Permalink]]
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| </pre></div>
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| <h4>Original HTML content:</h4>
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| <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>JI</title></head><body><!-- ws:start:WikiTextTocRule:16:&lt;img id=&quot;wikitext@@toc@@flat&quot; class=&quot;WikiMedia WikiMediaTocFlat&quot; title=&quot;Table of Contents&quot; src=&quot;/site/embedthumbnail/toc/flat?w=100&amp;h=16&quot;/&gt; --><!-- ws:end:WikiTextTocRule:16 --><!-- ws:start:WikiTextTocRule:17: --><a href="#Just Intonation explained">Just Intonation explained</a><!-- ws:end:WikiTextTocRule:17 --><!-- ws:start:WikiTextTocRule:18: --> | <a href="#Just Intonation used">Just Intonation used</a><!-- ws:end:WikiTextTocRule:18 --><!-- ws:start:WikiTextTocRule:19: --><!-- ws:end:WikiTextTocRule:19 --><!-- ws:start:WikiTextTocRule:20: --> | <a href="#toc3"> </a><!-- ws:end:WikiTextTocRule:20 --><!-- ws:start:WikiTextTocRule:21: --><!-- ws:end:WikiTextTocRule:21 --><!-- ws:start:WikiTextTocRule:22: --> | <a href="#Variations on 'Just'">Variations on 'Just'</a><!-- ws:end:WikiTextTocRule:22 --><!-- ws:start:WikiTextTocRule:23: --> | <a href="#Links">Links</a><!-- ws:end:WikiTextTocRule:23 --><!-- ws:start:WikiTextTocRule:24: --> | <a href="#Articles">Articles</a><!-- ws:end:WikiTextTocRule:24 --><!-- ws:start:WikiTextTocRule:25: -->
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| <!-- ws:end:WikiTextTocRule:25 --><hr />
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| <!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Just Intonation explained"></a><!-- ws:end:WikiTextHeadingRule:0 -->Just Intonation explained</h1>
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| JHI, or <a class="wiki_link" href="/Just%20Intonation">Just Intonation</a> describes <a class="wiki_link" href="/Gallery%20of%20Just%20Intervals">intervals</a> between pitches by specifying ratios (of <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Rational_number" rel="nofollow">rational numbers</a>) between the frequencies of pitches. This is sometimes distinguished from <em>rational intonation</em> by requiring that the ratios be ones of low complexity (as for example measured by <a class="wiki_link" href="/Tenney%20height">Tenney height</a>) but there is no clear dividing line. The matter is partially a question of intent. The rank two tuning system in which all intervals are given as combinations of the just perfect fourth, 4/3, and the just minor third, 6/5, would seem to be a nonoctave 5-limit just intonation system by definition. In practice, it can hardly be used except as a rank two 7-limit <a class="wiki_link" href="/Microtempering">microtempering</a> system because of certain very accurate approximations to the octave and to seven limit intervals: (6/5)^2/(4/3) = 27/25, the semitone maximus or just minor second; and (27/25)^9 is less than a cent short of an octave, while (27/25)^2 is almost precisely 7/6, the <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Septimal_minor_third" rel="nofollow">septimal minor third</a>.<br />
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| <br />
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| If you are used to speaking only in note names, you may need to study the relation between frequency and <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Pitch_%28music%29" rel="nofollow">pitch</a>. Kyle Gann's <em><a class="wiki_link_ext" href="http://www.kylegann.com/tuning.html" rel="nofollow">Just Intonation Explained</a></em> is one good reference. A transparent illustration and one of just intonation's acoustic bases is the <a class="wiki_link" href="/OverToneSeries">harmonic series</a>.<br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="Just Intonation used"></a><!-- ws:end:WikiTextHeadingRule:2 -->Just Intonation used</h1>
| |
| The use of just intonation could be divided into these two flavors:<br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:4:&lt;h2&gt; --><h2 id="toc2"><a name="Just Intonation used-Free Style Just"></a><!-- ws:end:WikiTextHeadingRule:4 -->Free Style Just</h2>
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| <!-- ws:start:WikiTextHeadingRule:6:&lt;h1&gt; --><h1 id="toc3"><!-- ws:end:WikiTextHeadingRule:6 --> </h1>
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| Lou Harrison used this term; it means that you choose just-intonation pitches, from the set of all possible just intervals (not from a mode or scale), as you use them in music. Dedicated page -&gt; <a class="wiki_link" href="/FreeStyleJI">FreeStyleJI</a><br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:8:&lt;h2&gt; --><h2 id="toc4"><a name="Just Intonation used-Constrained Just"></a><!-- ws:end:WikiTextHeadingRule:8 -->Constrained Just</h2>
| |
| (In need of a better name maybe) Here are six ways that musicians and theorists have constrained the field of potential just ratios (from Jacques Dudon, &quot;Differential Coherence&quot;, <em>1/1</em> vol. 11, no. 2: p.1):<br />
| |
| <br />
| |
| <em>1. The principle of &quot;<a class="wiki_link" href="/Harmonic%20Limit">harmonic limits</a>,&quot; which sets a threshold in order to place a limit on the largest prime number in any ratio (cf: Tanner's &quot;psycharithmes&quot; and his ordering by complexity; Gioseffe Zarlino's five-limit &quot;senario,&quot; and the like; Helmholtz's theory of consonance with its &quot;blending of partials,&quot; which, like the others, results in giving priority to the lowest prime numbers).</em><br />
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| <br />
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| <em>2. Restrictions on the combinations of numbers that make up the numerator and denominator of the ratios under consideration, such as the &quot;monophonic&quot; system of <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Harry_Partch" rel="nofollow">Harry Partch</a>'s <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Pitch_%28music%29" rel="nofollow">tonality diamond</a>. This, incidentially, is an eleven-limit system that only makes use of ratios of the form n:d, where n and d are drawn only from harmonics 1,3 5 7 9, 11, or their octaves.</em><br />
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| <br />
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| <em>3. Other theorists who, in contrast to the above, advocate the use of <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Hexany" rel="nofollow">products sets</a> of given arrays of prime numbers, such as <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Erv_Wilson" rel="nofollow">Ervin Wilson</a>,</em><em>Robert Dussaut,</em> <em>and others.</em><br />
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| <br />
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| <em>4. <a class="wiki_link" href="/Just%20intonation%20subgroups">Restrictions on the variety of prime numbers</a> used within a system, for example, 3 used with only one [sic, also included is 2] other prime 7, 11, or 13.... This is quite common practice with Ptolemy, Ibn-Sina, Al-Farabi, and Saf-al-Din, and with numerous contemporary composers working in Just Intonation.</em><br />
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| <br />
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| <em>5. Restricting the denominator to one or very few values (the <a class="wiki_link" href="/OverToneSeries">harmonic series</a>).</em><br />
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| <br />
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| <em>6. Restricting the numerator to one or a very few values (the <a class="wiki_link" href="/subharmonic%20series">subharmonic series</a> or <a class="wiki_link" href="/aliquot%20scales">aliquot scales</a>).</em><br />
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| <br />
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| to this can be added<br />
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| <em>7. The use of</em> <em>harmonic</em> <em>mediants as was common with the Ancient Greeks. This can also involve further divisions besides two parts as seen with Ptolemy sometimes using 3 parts. The Chinese have historically used as many as 10 parts.</em><br />
| |
| <br />
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| <em>8. While related to the above, the use of recurrent sequences is by some included under JI as it involves whole numbers. Wilson's <a class="wiki_link_ext" href="http://anaphoria.com/wilsonintroMERU.html" rel="nofollow">Meru scales</a> are a good example as well as Jacques Dudon</em><br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:10:&lt;h1&gt; --><h1 id="toc5"><a name="Variations on 'Just'"></a><!-- ws:end:WikiTextHeadingRule:10 -->Variations on 'Just'</h1>
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| <a class="wiki_link" href="/Regular%20Temperaments">Regular Temperaments</a> are just intonation systems of various <a class="wiki_link" href="/harmonic%20limits">harmonic limits</a> with certain commas 'tempered out'<br />
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| <a class="wiki_link" href="/AdaptiveJI">Adaptive JI</a><br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:12:&lt;h1&gt; --><h1 id="toc6"><a name="Links"></a><!-- ws:end:WikiTextHeadingRule:12 -->Links</h1>
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| <a class="wiki_link" href="/hypergenesis58.scl">58 note 11 limit JI</a> - hyper-Partchian!<br />
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| <a class="wiki_link" href="/Hahn%20distance">Hahn distance</a><br />
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| <a class="wiki_link" href="/Gallery%20of%20Just%20Intervals">Gallery of Just Intervals</a><br />
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| <a class="wiki_link" href="/Gallery%20of%2012-tone%20Just%20Intonation%20Scales">Gallery of 12-tone Just Intonation Scales</a><br />
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| <a class="wiki_link" href="/boogiewoogiescale">Boogie woogie scale</a><br />
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| <a class="wiki_link" href="/Arnold%20Dreyblatt">Arnold Dreyblatt</a><br />
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| <a class="wiki_link" href="/Gallery%20of%20pentatonics">Gallery of pentatonics</a><br />
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| <a class="wiki_link" href="/FiniteSubsetJI">FiniteSubsetJI</a><br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:14:&lt;h1&gt; --><h1 id="toc7"><a name="Articles"></a><!-- ws:end:WikiTextHeadingRule:14 -->Articles</h1>
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| <ul><li><a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Just_intonation" rel="nofollow">Wikipedia article on just intonation</a></li><li><a class="wiki_link_ext" href="http://nowitzky.hostwebs.com/justint/" rel="nofollow">Just Intonation</a> by Mark Nowitzky [<!-- ws:start:WikiTextUrlRule:126:http://www.webcitation.org/5xeAm2lPL --><a class="wiki_link_ext" href="http://www.webcitation.org/5xeAm2lPL" rel="nofollow">http://www.webcitation.org/5xeAm2lPL</a><!-- ws:end:WikiTextUrlRule:126 -->|Permalink]]<a class="wiki_link_ext" href="http://www.webcitation.org/5xeAm2lPL" rel="nofollow">Permalink</a></li><li><a class="wiki_link_ext" href="http://www.kylegann.com/tuning.html" rel="nofollow">Just Intonation Explained</a> by Kyle Gann <a class="wiki_link_ext" href="http://www.webcitation.org/5xe2iC7Nq" rel="nofollow">Permalink</a></li><li><a class="wiki_link_ext" href="http://www.kylegann.com/Octave.html" rel="nofollow">Anatomy of an Octave</a> by Kyle Gann <a class="wiki_link_ext" href="http://www.webcitation.org/5xe30LCev" rel="nofollow">Permalink</a></li><li><a class="wiki_link_ext" href="http://www.dbdoty.com/Words/What-is-Just-Intonation.html" rel="nofollow">What is Just Intonation?</a> by David B. Doty <a class="wiki_link_ext" href="http://www.webcitation.org/5xe3MeWVq" rel="nofollow">Permalink</a></li><li><a class="wiki_link_ext" href="http://www.dbdoty.com/Words/werntz.html" rel="nofollow">A Response to Julia Werntz</a> by David B. Doty <a class="wiki_link_ext" href="http://www.webcitation.org/5xe38KWx4" rel="nofollow">Permalink</a></li><li><a class="wiki_link_ext" href="http://lumma.org/tuning/gws/commaseq.htm" rel="nofollow">Comma Sequences</a> by Gene Ward Smith <a class="wiki_link_ext" href="http://www.webcitation.org/5xe4rPLZ0" rel="nofollow">Permalink</a></li></ul></body></html></pre></div>
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