Orwell: Difference between revisions

(3 intermediate revisions by 3 users not shown)

Line 13:

In the 11-limit, two generators are equated to [[11/8]] (meaning [[99/98]] is tempered out). This means that three stacked generators makes the [[orwell tetrad]] 1–7/6–11/8–8/5, a chord in which every interval is a (tempered) 11-odd-limit consonance. Other such chords in orwell are the [[keenanismic chords]] and the [[swetismic chords]].

Compatible equal temperaments include [[22edo]], [[31edo]], [[53edo]], and [[84edo]]. Orwell is in better tune in lower limits than higher ones; the [[optimal patent val]] is [[296edo]] in the 5-limit, [[137edo]] in the 7-limit, and [[53edo]] in the 11-limit. It tempers out the semicomma in the 5-limit, and so belongs to the [[semicomma family]]. In the 7-limit it tempers out [[225/224]], [[1728/1715]], [[2430/2401]] and [[6144/6125]], and in the 11-limit, [[99/98]], [[121/120]], [[176/175]], [[385/384]] and [[540/539]]. By adding [[275/273]] to the list of commas it can be extended to the 13-limit as [[Semicomma family #Orwell|tridecimal orwell]], and by adding instead [[66/65]], [[Semicomma family #Winston|winston temperament]]. See [[Orwell~~/Extensions~~]] for details about 13-limit extensions.

Compatible equal temperaments include [[22edo]], [[31edo]], [[53edo]], and [[84edo]]. Orwell is in better tune in lower limits than higher ones; the [[optimal patent val]] is [[296edo]] in the 5-limit, [[137edo]] in the 7-limit, and [[53edo]] in the 11-limit. It tempers out the semicomma in the 5-limit, and so belongs to the [[semicomma family]]. In the 7-limit it tempers out [[225/224]], [[1728/1715]], [[2430/2401]] and [[6144/6125]], and in the 11-limit, 99/98, [[121/120]], [[176/175]], [[385/384]] and [[540/539]]. By adding [[275/273]] to the list of commas it can be extended to the 13-limit as [[Semicomma family #Orwell|tridecimal orwell]], and by adding instead [[66/65]], [[Semicomma family #Winston|winston temperament]]. See [[Orwell extensions]] for details about 13-limit extensions.

See [[Semicomma family #Orwell]] for technical details.

Line 47:

| 5

| 157.28

| 12/11~~, 11/10~~, 35/32

| 11/10, 12/11, 35/32

|-

| 6

| 428.73

| 14/11~~, 9/7~~, 32/25

| 9/7, 14/11, 32/25

|-

| 7

Line 63:

| 9

| 43.10

| 49/48, 36/35, 33/32

| 33/32, 36/35, 49/48

|-

| 10

Line 117:

| 63/32

|}

<nowiki/>* In 11-limit CWE tuning

<nowiki/>* In 11-limit CWE tuning, octave reduced

== Chords and harmony ==

Line 123:

The fundamental otonal consonance of orwell, voiced in a roughly {{w|tertian harmony|tertian}} manner, is 4:5:6:7:9:11. In terms of generator steps this is 0–(-3)–7–8–14–2, only available in a 22-tone mos. However, some subsets of this chord are way simpler, such as 8:11:12:14, which is 1–11/8–3/2–7/4 (0–2–7–8).

The fundamental otonal consonance of orwell, voiced in a roughly {{w|tertian harmony|tertian}} manner, is 4:5:6:7:9:11. In terms of generator steps this is 0–(−3)–7–8–14–2, only available in a 22-tone mos. However, some subsets of this chord are way simpler, such as 8:11:12:14, which is 1–11/8–3/2–7/4 (0–2–7–8).

The generator, ~7/6, is a septimal interval, so chords could instead be built around it as 1–7/6–3/2 (0–1–7), 1–7/4–3 (0–8–7), or tetrads such as 1–7/6–3/2–7/4 (0–1–7–8).

To 1–7/6–3/2–7/4 we may add 11/8, or to 1–11/8–3/2–7/4 we may add 7/6, to form an essentially tempered pentad, 1–7/6–11/8–3/2–7/4 (0–1–2–7–8). Its inverse is 1–12/11–9/7–3/2–12/7 (0–5–6–7–(-1)), which can serve as a minor counterpart. This is similar, but also in clear contrast to the 1–5/4–3/2 (0–4–1) and 1–6/5–3/2 (0–(−3)–1) chords of [[meantone]]. Two approaches to functional harmony thus arise.

To 1–7/6–3/2–7/4 we may add 11/8, or to 1–11/8–3/2–7/4 we may add 7/6, to form an essentially tempered pentad, 1–7/6–11/8–3/2–7/4 (0–1–2–7–8). Its inverse is 1–12/11–9/7–3/2–12/7 (0–5–6–7–(−1)), which can serve as a minor counterpart. This is similar, but also in clear contrast to the 1–5/4–3/2 (0–4–1) and 1–6/5–3/2 (0–(−3)–1) chords of [[meantone]]. Two approaches to functional harmony thus arise.

First, we can treat the septimal chords above as the basis of harmony, but swapping the roles of 3 and 7 according to their temperamental complexities (number of generator steps). Thus a "dominant" chord is either 7/6 or 12/7 over tonic; a "subdominant" chord is either 7/6 or 12/7 under tonic. This leads to an approach closely adherent to mos scales. The 9-tone mos contains a tonic and a "dominant" triad. The 13-tone mos is good for encapsulating tonic, "pre-dominant", and "dominant" functions, triads to pentads alike.

@@ Line 13: / Line 13: @@
 In the 11-limit, two generators are equated to [[11/8]] (meaning [[99/98]] is tempered out). This means that three stacked generators makes the [[orwell tetrad]] 1–7/6–11/8–8/5, a chord in which every interval is a (tempered) 11-odd-limit consonance. Other such chords in orwell are the [[keenanismic chords]] and the [[swetismic chords]].
-Compatible equal temperaments include [[22edo]], [[31edo]], [[53edo]], and [[84edo]]. Orwell is in better tune in lower limits than higher ones; the [[optimal patent val]] is [[296edo]] in the 5-limit, [[137edo]] in the 7-limit, and [[53edo]] in the 11-limit. It tempers out the semicomma in the 5-limit, and so belongs to the [[semicomma family]]. In the 7-limit it tempers out [[225/224]], [[1728/1715]], [[2430/2401]] and [[6144/6125]], and in the 11-limit, [[99/98]], [[121/120]], [[176/175]], [[385/384]] and [[540/539]]. By adding [[275/273]] to the list of commas it can be extended to the 13-limit as [[Semicomma family #Orwell|tridecimal orwell]], and by adding instead [[66/65]], [[Semicomma family #Winston|winston temperament]]. See [[Orwell/Extensions]] for details about 13-limit extensions.
+Compatible equal temperaments include [[22edo]], [[31edo]], [[53edo]], and [[84edo]]. Orwell is in better tune in lower limits than higher ones; the [[optimal patent val]] is [[296edo]] in the 5-limit, [[137edo]] in the 7-limit, and [[53edo]] in the 11-limit. It tempers out the semicomma in the 5-limit, and so belongs to the [[semicomma family]]. In the 7-limit it tempers out [[225/224]], [[1728/1715]], [[2430/2401]] and [[6144/6125]], and in the 11-limit, 99/98, [[121/120]], [[176/175]], [[385/384]] and [[540/539]]. By adding [[275/273]] to the list of commas it can be extended to the 13-limit as [[Semicomma family #Orwell|tridecimal orwell]], and by adding instead [[66/65]], [[Semicomma family #Winston|winston temperament]]. See [[Orwell extensions]] for details about 13-limit extensions.
 See [[Semicomma family #Orwell]] for technical details.
@@ Line 47: / Line 47: @@
 | 5
 | 157.28
-| 12/11, 11/10, 35/32
+| 11/10, 12/11, 35/32
 |-
 | 6
 | 428.73
-| 14/11, 9/7, 32/25
+| 9/7, 14/11, 32/25
 |-
 | 7
@@ Line 63: / Line 63: @@
 | 9
 | 43.10
-| 49/48, 36/35, 33/32
+| 33/32, 36/35, 49/48
 |-
 | 10
@@ Line 117: / Line 117: @@
 | 63/32
 |}
-<nowiki/>* In 11-limit CWE tuning
+<nowiki/>* In 11-limit CWE tuning, octave reduced
 == Chords and harmony ==
@@ Line 123: / Line 123: @@
 {{See also| Functional harmony in rank-2 temperaments }}
-The fundamental otonal consonance of orwell, voiced in a roughly {{w|tertian harmony|tertian}} manner, is 4:5:6:7:9:11. In terms of generator steps this is 0–(-3)–7–8–14–2, only available in a 22-tone mos. However, some subsets of this chord are way simpler, such as 8:11:12:14, which is 1–11/8–3/2–7/4 (0–2–7–8).
+The fundamental otonal consonance of orwell, voiced in a roughly {{w|tertian harmony|tertian}} manner, is 4:5:6:7:9:11. In terms of generator steps this is 0–(−3)–7–8–14–2, only available in a 22-tone mos. However, some subsets of this chord are way simpler, such as 8:11:12:14, which is 1–11/8–3/2–7/4 (0–2–7–8).
 The generator, ~7/6, is a septimal interval, so chords could instead be built around it as 1–7/6–3/2 (0–1–7), 1–7/4–3 (0–8–7), or tetrads such as 1–7/6–3/2–7/4 (0–1–7–8).
-To 1–7/6–3/2–7/4 we may add 11/8, or to 1–11/8–3/2–7/4 we may add 7/6, to form an essentially tempered pentad, 1–7/6–11/8–3/2–7/4 (0–1–2–7–8). Its inverse is 1–12/11–9/7–3/2–12/7 (0–5–6–7–(-1)), which can serve as a minor counterpart. This is similar, but also in clear contrast to the 1–5/4–3/2 (0–4–1) and 1–6/5–3/2 (0–(−3)–1) chords of [[meantone]]. Two approaches to functional harmony thus arise.
+To 1–7/6–3/2–7/4 we may add 11/8, or to 1–11/8–3/2–7/4 we may add 7/6, to form an essentially tempered pentad, 1–7/6–11/8–3/2–7/4 (0–1–2–7–8). Its inverse is 1–12/11–9/7–3/2–12/7 (0–5–6–7–(−1)), which can serve as a minor counterpart. This is similar, but also in clear contrast to the 1–5/4–3/2 (0–4–1) and 1–6/5–3/2 (0–(−3)–1) chords of [[meantone]]. Two approaches to functional harmony thus arise.
 First, we can treat the septimal chords above as the basis of harmony, but swapping the roles of 3 and 7 according to their temperamental complexities (number of generator steps). Thus a "dominant" chord is either 7/6 or 12/7 over tonic; a "subdominant" chord is either 7/6 or 12/7 under tonic. This leads to an approach closely adherent to mos scales. The 9-tone mos contains a tonic and a "dominant" triad. The 13-tone mos is good for encapsulating tonic, "pre-dominant", and "dominant" functions, triads to pentads alike.