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| '''Expanding tonal space''' | | '''** THIS IS A WORK IN PROGRESS **'''<br> |
| This article describes how to visually arrange a set of overtone scales in order to expand a particular ''plane of tonal space''.
| | <b>Exploring tonal space</b> |
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| == Why expand tonal space in this way? ==
| | This article focuses on the steps required to apply the ''"Tonal Space"'' interval system to a novel musical keyboard instrument. |
| The concept is a step towards building an electronic keyboard instrument that allows the player to interactively map ''sequences of [[Rational interval|rational intervals]]'' to consecutive keys – in real time, even live on stage. Therefore, the player needs convenient and intuitive access to the mapping process, which becomes an integral part of the musical performance.
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| With a prototypical instrument in place, the search for ''intermediary chords'' in tonal music begins. We can identify (and play) supplementary consonant chords that fit seamlessly into the gaps of familiar chord progressions. Listen to the following two audio examples to get the idea...
| | ''Tonal Space'' is a concept of musical intonation control that incorporates all modes of the overtone scale while allowing free modulation through twelve chromatic keys. The four-part ''"[[Expanding tonal space|Expanding Tonal Space]]"'' series (Parts I through IV) explains the development of Tonal Space in detail. |
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| ! Listen to
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| ! Control
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| | ...a sequence of five<br>beatless minor chords || [[File:Audio1_tonal_space_I-min+IV-min.mp3|270px]]|| <math>I</math>min, <math>I</math>min, <math>IV</math>min, <br><math>IV</math>min, <math>I</math>min
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| | ...an inserted <br>''intermediary chord'' <br>on the 2nd beat || [[File:Audio2_tonal_space_I-min+I-augmin+IV-min.mp3|270px]]|| <math>I</math>min, <math>I</math>xen-augmin, <math>IV</math>min, <br><math>IV</math>min, <math>I</math>min ...
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| The proposed model of tonal space utilizes the uniform structure and simple mathematical description of ''[[Overtone scale|overtone scales]]'' as well as the closely related ''arithmetic frequency division of the octave'' ([[AFDO]]).
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| For each note to be rendered, the model should effectively determine the current deviation from 12-tone equal temperament ([[12edo]]) in order to control the intonation of a commercial sound module or software plug-in on the fly.
| | '''** This page is being used for testing purposes only. **''' |
| ==How to expand tonal space – the interval axis== | | =[[Expanding tonal space]]= |
| Like ''frequency'', ''musical pitch'' is one-dimensional. Fig.1 illustrates the horizontal axis of tonal space, which we call the ''interval axis''. It points in keyboard direction from low keys to high keys. The first harmonic ''(h1)'' is known as the common ''fundamental'' of all upcoming overtone scales.
| | =[[Expanding tonal space/planar extensions]]= |
| | =[[Expanding tonal space/projections]]= |
| | =[[Expanding tonal space/third dimension]]= |
| | <br> |
| | {{breadcrumb}} |
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| [[File:Fig-1_tonal_space_0846c.png|480px|center]] | | ==== [[Expanding tonal space|Part I:]] <span style="font-size: 120%;">Expanding tonal space</span> ==== |
| | <span style="font-size: 120%;">Don't forget about the function</span> |
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| <center><small><u>Fig.1</u>: One octave (from the first harmonic h1 to the second harmonic h2)</small></center> | | ==== [[Expanding tonal space|Part I:]] <span style="font-weight:normal">Expanding tonal space</span> ==== |
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| ==The mode axis==
| | '''Navigating tonal space''' |
| The vertical axis of our model of tonal space indicates ''modes'' of the harmonic series. All modes start at the same normalized frequency (or pitch) of 0 cents. This means that the ''tonics'' of all of these overtone scales share exactly the same pitch (Fig. 2), which can be chosen arbitrarily.
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| Since each mode (row) begins with a member of the harmonic series, we can space adjacent modes by corresponding rational intervals for plotting on the logarithmic vertical axis.
| | [[File:Rob Ickes performing with Blue Highway California USA June 2010.jpg|thumb|180px|Rob Ickes performing with his band, Blue Highway, on June 21, 2010.]] |
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| [[File:Fig-2_tonal_space_0851f.png|480px|center]] | | [[File:Heather Leigh-0981.jpg|thumb|260px|Heather Leigh-0981]] |
| <center><small><u>Fig. 2</u>: Overtone scales from Mode 1 (''h1'') to Mode 4 ''(h4)'' on a 2D-plane of tonal space</small></center>
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| ==The ''Horizon Chart''==
| | [[File:Dobro guitar - Bluegrass Band, Kentucky (2011-10-16 by Navin75).jpg|thumb|260px|Dobro guitar - Bluegrass Band, Kentucky (2011-10-16 by Navin75)]] |
| The result of visualizing more modes of the overtone scale (up to Mode 16) is shown in Fig. 3:
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| [[File:Fig-3_tonal_space_0844g.png|458px|center]] | |
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| <center><small><u>Fig. 3</u>: The ''Horizon Chart'': Relations of overtone scales (up to Mode 16) on a plane of tonal space</small></center>
| | == Modern pedal steel (Header before audio controls, audio only) == |
| | [[File:Pedal steel played with reverb.ogg||270px]] A song played on an E9 pedal steel guitar. |
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| Each pitch is labeled with the size of an interval in cents, measured from the tonic (0 ¢) to the corresponding pitch marker (<small>'''+'''</small>). Each pitch marker is connected to the next vertical 12edo-line by a ''delta'' ''indicator''. We define the direction and length of this indicator as the ''signed intonation'' interval of the respective pitch.
| | == Steel bar (Header before image of steel bar) == |
| | [[File:Steel bar (tonebar) used in playing steel guitar.jpg|thumb|180px|<u>Fig.2</u>: <ref>Eagledj, [https://creativecommons.org/licenses/by-sa/4.0 CC BY-SA 4.0 ], via [https://commons.wikimedia.org/wiki/File:Steel_bar_(tonebar)_used_in_playing_steel_guitar.jpg Wikimedia Commons]</ref> Steel bar (tonebar) used to play certain types of steel guitars.]]<br> |
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| The [[AFDO]]-page can help to reproduce this plot:
| | == Text reference (attribution) == |
| | Eagledj, [https://creativecommons.org/licenses/by-sa/4.0 CC BY-SA 4.0], via [https://commons.wikimedia.org/wiki/File:Steel_bar_(tonebar)_used_in_playing_steel_guitar.jpg Wikimedia Commons] |
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| :''Within each period of any n-afdo system, the [[frequency ratio]] r of the m-th degree is''
| | == Infotext == |
| | | '''** THIS IS A WORK IN PROGRESS **'''<br> |
| ::::<math>\displaystyle
| | <b>Expanding tonal space/third dimension</b> |
| r=\frac{n+m}{n}</math> , where
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| :*r is a rational frequency ratio which – after conversion to cents –<br> is displayed against the horizontal interval axis of tonal space
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| :* n is the mode of an overtone scale, plotted on the vertical axis
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| :*m addresses (indexes, counts) the elements of each overtone scale in horizontal direction from the tonic (left, starting at 0) to the right.
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| In particular ...
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| :*if m = 0, then r = 1 (0 ¢) and
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| :*if m = n, then r = 2 (1200 ¢)
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| <u>An Example</u>:
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| A just major third relates the first (m=1) interval of a Mode 4 overtone scale to the tonic of Mode 4 (n=4, m=0) and we get
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| ::::<math>
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| r=\frac{4+1}{4}=\frac{5}{4}</math>
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| ::::<math>
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| r_{cents}= ln(r)\cdot\frac{1200}{ln(2)} \approx 386 </math> ¢
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| ==Intonation==
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| Intonation is an adjustment of pitch applied to notes - live at performance time.
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| In the context of this model, we use 12edo pitches as the reference scale for measuring intonation. To describe intonation precisely (and without reference to concert pitch or absolute frequency), we define
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| ::''Intonation is the signed interval between...''
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| ::*''a pitch, generated by a key with a given key descriptor (such as A3, B3, C4, C#4, ...), <br>that rings exactly in tune with 12-tone equal temperament (12edo) and''
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| ::*''a deviating pitch referenced by the same key descriptor''
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| Typically, intonation is a small interval between -50 ¢ and +50 ¢ although larger values are allowed. The common tonic of all modes of the overtone scale has an intonation of 0 ¢ by definition.
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| According to this definition'','' the upper pitch of the just major third (Mode 4) above the tonic has a signed intonation interval (distance to the next vertical 12edo line) of -14 ¢ .
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| To calculate the intonation
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| *compute the ''remainder'' of the interval’s value in cents by a modulo division (386 ¢ ''mod''100) – <br>the intermediate result is 86 ¢ | |
| *Test: If the intermediate result is greater than 50 ¢ then subtract 100 ¢
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| *The test is true and the final result is -14 ¢
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| To determine the 12edo interval the intonation is applied to, get the original interval ''r<sub>cents </sub>'' and do some more integer arithmetic:
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| ::::<math>
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| r_{12edo}=integer\left (\frac{r_{cents}+50c}{100.0} \right )\cdot 100</math>
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| ::::<math>
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| r_{12edo}=integer\left (\frac{386c+50c}{100.0} \right )\cdot 100=400</math> ¢
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| == A variety of projections of the model==
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| Keep in mind that the ''Horizon Chart'' (Fig.3) is just one ''graphical representation of relationships'' between pitches, musical intervals and overtone scales. More specifically, Fig.3 shows one of many useful Cartesian projections of an abstract model onto a 2D-plane.
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| Nevertheless, this representation is the basis for a variety of ''realtime'' ''operations on chords'' that a future musical instrument can apply. In addition, the Cartesian projection of tonal space (with a straight horizontal line for each mode of an overtone scale) can be easily handled in a programming environment.
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| ==Polar projection of tonal space ==
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| In polar projection of the model, the horizontal ''mode'' lines form circles:
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| [[File:Fig-4 tonal space POLAR 149.png|458px|center]]
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| <center><small><u>Fig.4</u>: A plane of tonal space in polar projection (up to Mode 16)</small></center>
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| The center is the location of the fundamental, where Mode n=1 and m=0. This corresponds to the origin of the former Cartesian coordinate system. The mode axis runs from the center up to the north. A clockwise angle of 2π represents one octave up. Each dot represents a pitch.
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| ==General Applicability==
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| In this model a ''chord'' is composed of at least two stacked intervals with frequency ratios taken from the harmonic series in ascending order. The chord should be footed on the tonic of the particular mode. Skipped harmonics within a chord may remain mute. Fig.5 shows a comparison of four augmented chords that sound quite different:
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| [[File:Fig-5 tonal space 753i aug.png|480px|center]]
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| <center><small><u>Fig.5</u>: Selection of different augmented chords </small></center>
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| The model of tonal space is well suited for comparing chords. No matter what intervals you '''mark on any horizontal line''', the result will always be a chord made up of rational intervals that share a common denominator. Such a chord is therefore a subset of the harmonic series.
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| A final example: If you want to create a major ''b''7 chord, you will find four suitable pitches in the horizontal Mode 4-line (Fig.3) from m=0 to m=3. If you want to replace the upper 7/4 interval with, say, a 9/5 interval, find the ''Least Common Denominator'' (''LCM'', which is 4*5=20 in this case), and you get a 20:25:30:36 chord, which lives in Mode 20 (not shown) and sounds noticeably more dissonant.
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| == See also… == | | == See also… == |
| Sethares, William A. ''Tuning Timbre Spectrum Scale.'' London: Springer Verlag , 1999. | | Sethares, William A. ''Tuning Timbre Spectrum Scale.'' London: Springer Verlag , 1999. |
| [p65, ''3.7. Overtone Scales''] | | [p65, ''3.7. Overtone Scales'']<br><br> |