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| Hello! My name is Andrew and I like screwing around with xenharmony, especially notation. | | Hello! My name is Andrew and I like screwing around with xenharmony, especially [[EDO|EDOs]], free [[Just intonation|JI]], and various [[Musical notation|notations]]. |
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| Currently experimenting with anti-diatonic stuff like EDOs 9, 11, 13, 16, and 23.
| | Here's [https://tilde.town/~tromboneboi9/ my website], it's got various things from photos to web-apps as well as scales I've designed. |
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| '''[https://akahler.w3spaces.com/ I have a website!!]''' | | Here's [https://tromboneboi9.github.io my GitHub page], where I might put various web-apps and web development projects. |
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| === An idea for notation I had === | | I also exist on the [https://discord.com/invite/FSF5JFT XA Discord], currently under the alias ''Sir Semiflat''. |
| Something I noticed in regular EDO notation, using Pythagorean names, is that the major third in a lot of temperaments is no longer the closest the EDO has to the just major third 5/4. So, with some thought from Just Intonation notations, I came up with something that I think might be promising.
| | <!-- |
| | == Xenharmonic Discography == |
| | As of mid-November 2024 (non-comprehensive) |
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| In essence, instead of solely relying on Pythaogrean names and arrows for edosteps in between (which can get unwieldy in larger EDOs), I considered making the arrow represent the [[syntonic comma]] instead. If your EDO has a different pitch for the just major third and the Pythagorean major third, then of course, it has syntonic comma that hasn't been tempered out. This won't change anything for EDOs with a syntonic comma less than or equal to one step, of course, but it could have an effect on even "sharper" systems like 37-EDO.
| | * '''''Torn Gamelan''''' for solo piano in [[31edo]], 2023 |
| | * '''''Apollo's Broken Piano''''' for solo piano in [[7-limit|7-limit just intonation]], 2023 |
| | * '''''Chicago Olēka''''' for rock band in [[19edo]], 2023 |
| | * '''''A Harmonization of a Microtonal Etude''''' for string quartet in [[24edo]], 2024 |
| | --> |
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| For single edosteps, we can instead use a sort of slash-like symbol Bosanquet used in his notation, and perhaps stack them on top of each other to use less horizontal space.
| | == Pages I've contributed to == |
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| Here's a full example in [[37edo|37-EDO]]:
| | * [[Harmonic Scale]] |
| {| class="wikitable mw-collapsible"
| | * [[HEJI]] |
| !Steps
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| !Pythagorean notation
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| !Old notation
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| !New notation
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| |-
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| |0
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| |D
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| |D
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| |D
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| |-
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| |1
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| |Eb
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| |Eb
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| |Eb
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| |-
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| |2
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| |Fb
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| |^Eb
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| |^D
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| |-
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| |3
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| |Gbb
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| |^^Eb
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| |^Eb
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| |-
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| |4
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| |Bx
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| |vvD#
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| |vD#
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| |-
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| |5
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| |Cx
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| |vD#
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| |vE
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| |-
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| |6
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| |D#
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| |D#
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| |D#
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| |-
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| |7
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| |E
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| |E
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| |E
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| |-
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| |8
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| |F
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| |F
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| |F
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| |-
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| |9
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| |Gb
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| |Gb
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| |Gb
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| |-
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| |10
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| |Abb
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| |^Gb
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| |^F
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| |-
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| |11
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| |Bbbb
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| |^^Gb
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| |^Gb
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| |-
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| |12
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| |Dx
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| |vvF#
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| |vF#
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| |-
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| |13
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| |E#
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| |vF#
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| |vG
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| |-
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| |14
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| |F#
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| |F#
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| |F#
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| |-
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| |15
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| |G
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| |G
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| |G
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| |-
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| |16
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| |Ab
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| |Ab
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| |Ab
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| |-
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| |17
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| |Bbb
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| |^Ab
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| |^G
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| |-
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| |18
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| |Cbb
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| |^^Ab
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| |^Ab
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| |-
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| |19
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| |Ex
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| |vvG#
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| |vG#
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| |-
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| |20
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| |Fx
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| |vG#
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| |vA
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| |-
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| |21
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| |G#
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| |G#
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| |G#
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| |-
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| |22
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| |A
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| |A
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| |A
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| |-
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| |23
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| |Bb
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| |Bb
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| |Bb
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| |-
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| |24
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| |Cb
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| |^Bb
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| |^A
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| |-
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| |25
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| |Dbb
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| |^^Bb
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| |vBb
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| |-
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| |26
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| |F#x
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| |vvA#
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| |^A#
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| |-
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| |27
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| |Gx
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| |vA#
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| |vB
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| |-
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| |28
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| |A#
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| |A#
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| |A#
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| |-
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| |29
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| |B
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| |B
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| |B
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| |-
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| |30
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| |C
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| |C
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| |C
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| |-
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| |31
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| |Db
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| |Db
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| |Db
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| |-
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| |32
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| |Ebb
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| |^Db
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| |^C
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| |-
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| |33
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| |Fbb
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| |^^Db
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| |^Db
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| |-
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| |34
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| |Ax
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| |vvC#
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| |vC#
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| |-
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| |35
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| |B#
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| |vC#
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| |vD
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| |-
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| |36
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| |C#
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| |C#
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| |C#
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| |-
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| |37
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| |D
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| |D
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| |D
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| |}
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| And for anti-diatonic systems, use '''x''' and '''y''' instead of '''^''' and '''v''', using <u>harmonic notation</u>.
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| An example in [[13edo|13-EDO]]:
| | == Subpages == |
| {| class="wikitable mw-collapsible"
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| !Steps
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| !Pythagorean/old notation
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| !26-EDO Subset
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| !New notation
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| |-
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| |0
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| |D
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| |D
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| |D
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| |-
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| |1
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| |E
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| |Dx, Ebb
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| |E, xC
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| |-
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| |2
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| |Eb
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| |E
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| |Eb, xD
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| |-
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| |3
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| |Fx
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| |Ex, Fb
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| |xE, yF
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| |-
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| |4
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| |F#
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| |F#
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| |F#, yG
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| |-
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| |5
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| |F
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| |Gb
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| |F, yA
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| |-
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| |6
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| |G
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| |G#
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| |G, yB
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| |-
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| |7
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| |A
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| |Ab
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| |A, xF
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| |-
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| |8
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| |B
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| |A#
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| |B, xG
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| |-
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| |9
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| |Bb
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| |Bb
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| |Bb, xA
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| |-
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| |10
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| |Cx
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| |B#
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| |xB, yC
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| |-
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| |11
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| |C#
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| |C
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| |C#, yD
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| |-
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| |12
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| |C
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| |Cx, Dbb
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| |C, yE
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| |-
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| |13
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| |D
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| |D
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| |D
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| |}
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| === Cloudy scales ===
| | {{Special:PrefixIndex/User:TromboneBoi9/}} |
| I don't know about you, but I love the seventh harmonic. The ''Cloudy Scale'' (named after its small interval, the [[cloudy comma]]) is a 5L6s [[MOS]] with [[7/4]] as the generator and [[2/1]] as the period.
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| {| class="wikitable" | |
| !Steps
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| !Ratio
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| |-
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| |0
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| |1/1
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| |-
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| |1
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| |16807/16384
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| |-
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| |2
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| |8/7
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| |-
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| |3
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| |2401/2048
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| |-
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| |4
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| |64/49
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| |-
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| |5
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| |343/256
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| |-
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| |6
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| |512/343
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| |-
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| |7
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| |49/32
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| |-
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| |8
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| |4096/2401
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| |-
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| |9
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| |7/4
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| |-
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| |10
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| |32768/16807
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| |-
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| |11
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| |2/1
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| |}
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