User:Eufalesio: Difference between revisions

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== Background ==

Just Intonation has irreversibly the way I hear music, and it has made my career inside my conservatory quite jarring; Classical repertoire (barring historicist interpretations) and the overwhelming majority of the ''contemporary classical'' music I was forced to listen, were wholly based in 12EDO, with 24EDO being the "utter maximum" of pitch deviation tolerable.

Just Intonation has irreversibly the way I hear music, and it has made my career inside my conservatory quite jarring; Classical repertoire (barring historicist interpretations) and the overwhelming majority of the ''contemporary classical'' music I was forced to listen, were wholly based in 12EDO, with 24EDO being the "utter maximum" of pitch deviation tolerable in these styles. Even 12edo was "too much" for some singers and players, who just barely hit the notes or had outrageously wide vibrato that made it impossible to tell what the note was in the first place.

== My view on microtonality ==

I don't ''hate'' 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned ~~(by virtue of being a "pythagorean tuning")~~

I don't ''hate'' 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned.

My pet peeve with 12EDO is that while it is the lowest EDO which ''can'' reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as ~~too~~ crude. It's a ~~pythagorean tuning trying to masquerade as meantone. 72EDO offers a much better harmonic approximation while being very easy to build in a DAW~~.

My pet peeve with 12EDO is that while it is the lowest EDO which ''can'' reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as a tad crude. Yes, it's a god-tier edo, but it's the absolute bare minimum.

EDOs and temperaments serve a practical purpose, achieving maximum JI accuracy whilst offering minimum complexity, ease of conceptualization, and practicality. Having composed many pieces for diverse ensembles (and an opera, which I have yet to upload...), I reached the conclusion that the best way to approach ~~microtonality~~, at least the kind that approaches JI, is to use electronics. Using acoustic instruments or raw interpretative skill requires a level of finesse and customization of building to which I have not the access to, neither on musicians or instrument luthiering.

EDOs and temperaments serve a practical purpose, achieving maximum JI accuracy whilst offering minimum complexity, ease of conceptualization, and practicality. Having composed many pieces for diverse ensembles (and an opera, which I have yet to upload...), I reached the conclusion that the best way to approach xenharmonic, at least the kind that approaches JI, is to use electronics. Using acoustic instruments or raw interpretative skill requires a level of finesse and customization of building to which I have not the access to, neither on musicians or instrument luthiering.

I don't generally do microtonality; that is, directly using very small steps melodically or harmonically. No. I find that yucky. I do xenharmony, however. Easy JI xenharmony. All of 4:5:6 and 10:12:15 and 7:9:11 and 8:10:13 and 10:13:15, plus all the scales.

== Interests ==

=== Music ===

My main drive in music is '''expanding tonality''' with ~~higher~~-limit JI: at the very least in the 5- or ~~7-limit~~, and at the very most in the ~~23- or~~ 29- limit.

My main drive in music is '''expanding tonality''' with 13-limit JI: at the very least in the ya or yaza, and at the very most in the 29-limit. My favorite subgroup is the [[13-limit|yazalatha]], with possible 19 added into the mix. See [[User:Eufalesio/Harmonic tiers|Harmonic tiers]] for my analysis of primes.

My ~~fav edos are thusly 12, 19, 22, 31, 53, 72, 94, 159, 217, 311. I'd love to compose in 311edo but I have not yet found a way to do so.~~

~~The biggest EDOs I would compose in are 217 and 311, since they offer a high quality representation of~~ the 31-limit~~. I will not use EDOs any higher than 311 because it's already a god-tier EDO~~, ~~any higher and~~ the ~~step size is way too small to be faithfully percieved~~.

~~The next EDO that achieves a similar level of consistency~~ is ~~1600EDO~~, ~~which is~~ '~~'almost'' consistent~~ to ~~the 45-odd-limit~~, ~~missing 50/39~~ and ~~39/25~~, but ~~those intervals~~ can ~~be easily fudged into 9/7 and 14/9~~.

My favorite edo for most purposes is [[94edo]]. I don't use it to its entirety, but rather only for its cassandra yazalatha(na). It's so good, so easy to work with, and very decent. Worse ya, but I can swallow it.

~~My fav scales are 5L2s (hard or soft)~~, ~~5L7s (supersoft)~~ and ~~12L5s (superhard), alongside 5L6s (ultrahard)~~.

The biggest EDOs I compose in is [[270edo]], since it offers an unbeatably good [[2.3.5.7.11.13.19 subgroup|yazalathana]]. I will not use EDOs any higher than 270edo because it's already a god-tier EDO, any higher and the step size is way too narrow to be faithfully percieved. See [[User:Eufalesio/EDO impressions|EDO impressions]] for more info.

~~Big fan of other unequal JI~~ scales ~~such as Nicetone~~, or ~~24:26:28:30:32:36:39:42:45:48, which I dub the "harmonic bipentachord"~~

My fav scales are Pyth-like 5L 7s and subsets, [[Ptolemy's intense diatonic|Zarlino]], [[Duodene]], [[8afdo]], and ''Ngwoóghe'' [ŋwǒːɣe] ''or Góqäi'' [ˈgɤqæi]

! harbipenchord13.scl

!

24:26:28:30:32:36:39:42:45:48 made into a scale, "~~harmonic bipentachord~~"

24:26:28:30:32:36:39:42:45:48 made into a scale, "Ngwoóghe", "Góqäi"

9

!

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15/8

2/1

And the [[Carlos harmonic scale]]. My approach to these JI scales is ~~either fudging~~ or ~~tempering~~ with ~~EDOs~~.

And the [[Carlos harmonic scale]]. My approach to these JI scales with 94edo or 270edo, or fudging when unavailable.

=== Theory ===

Fan of [[color notation]] and [[sagittal]]. Interested in naming stuff and knowing what we're talking about with some semblance of certainty. In terms of compositional theory, I believe that the best approach to music is to follow the harmonic series as closely as possible, using low complexity otonality, harmonic segments melodically, and 13-limit expanded tonality, with '''very''' sparse and irregular additions of primes 19 and ''possibly'' 17.

I don't care about essential tempering, VAOs, MOSes beyond the theoretical, or structural exploiting of edos and their symmetries barring easier navigation. JI is the journey, and temperaments are my boat.

I do not believe that the harmonic series and the subharmonic series are mirror versions of each other. They are only in pitch space, but in any real musical context, their functions are vastly different. Harmonics play inside harmony, subharmonics define harmony. Since subharmonics define harmony, concatenating many subharmonics leads to a chord with pieces that don't fit. Bad. Melodically, subharmonics are incredibly potent, but for different reasons than harmonics.

Ultimately I care more about praxis than about theory, my theory of theory being that it should be as descriptive, simple and intuitive as possible or be ultimately derived from praxis entirely, and all the thinking power should go to the actual music making. Theories are still important because the mental framework with which one makes music can, and does change, and learning about new ways to look at the same concepts is an important skill as an artist, I'd say.

'''I stopped doing tuning theory''', essentially settling for [[User:Eufalesio/Ultimate|one temperament]], which allows me to meet all my goals and expand tonality exactly the way I want. By having a dead-accurate 13-limit. This system dances at the bleeding edge of JI, edos, temperaments and practicality, but I won't spoil you the fun. <big>Have a read. ''Join me in my quest.''</big>

=== Worldbuilding ===

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== Articles ==

* [[User:Eufalesio/Proposal to the Functional Just System]]

=== Temperaments ===

* [[User:Eufalesio/~~Eufa~~'s ~~JI voicing notation~~]]

* [[User:Eufalesio/Ultimate|<big><big>Ultimate</big></big>]] (otherwise known as <small><small>[[cassaschismic]]</small></small>) It'd be funny if it was always spelt <big>big</big>.

* [[User:Eufalesio/Important Tables|Important Tables]] (data dump)

* [[User:Eufalesio/Fifth scale tree|Fifth scale tree]] (proposal)

* [[User:Eufalesio/Mappings_of_edos|Mappings of edos]]

=== Notation and speaking ===

* [[User:Eufalesio/Enumeration|Enumeration]] (also edited by [[Kite Giedraitis]], deprecated article, see [[EFR]])

* [[User:Eufalesio/Holopyth and Hemipyth|Holopyth and Hemipyth]] (systematic nomenclature for all of Hemipyth)

* [[User:Eufalesio/Proposal to the Functional Just System|Proposal to the Functional Just System]] (old stuff)

* [[User:Eufalesio/PLIN|PLIN]] (deprecated semantics blabbering)

=== Miscellaneous: ===

* [[User:Eufalesio/EDO_impressions|EDO impressions]] (obligatory opinionmaxxing, subject to change)

* [[User:Eufalesio/How to build edos in DAWs|How to build edos in DAWs]] (applicable in Logic)

* [[User:Eufalesio/Punctional Just System|Punctional Just System]] (joke)

* [[User:Eufalesio/Moture's Extended Functional Just System|Moture's Extended Functional Just System]] (bad translation of someone's article)

The list will be expanded further as more articles are published.

@@ Line 4: / Line 4: @@
 == Background ==
-Just Intonation has irreversibly the way I hear music, and it has made my career inside my conservatory quite jarring; Classical repertoire (barring historicist interpretations) and the overwhelming majority of the ''contemporary classical'' music I was forced to listen, were wholly based in 12EDO, with 24EDO being the "utter maximum" of pitch deviation tolerable.
+Just Intonation has irreversibly the way I hear music, and it has made my career inside my conservatory quite jarring; Classical repertoire (barring historicist interpretations) and the overwhelming majority of the ''contemporary classical'' music I was forced to listen, were wholly based in 12EDO, with 24EDO being the "utter maximum" of pitch deviation tolerable in these styles. Even 12edo was "too much" for some singers and players, who just barely hit the notes or had outrageously wide vibrato that made it impossible to tell what the note was in the first place.
 == My view on microtonality ==
-I don't ''hate'' 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned (by virtue of being a "pythagorean tuning")
+I don't ''hate'' 12EDO, the so called "equal temperament", its fifths are incredibly precise for its small size, and I've come to the conclusion that it is a very practical temperament for 3-limit music. Its place in modern day music is well earned, but I think that most people don't take full advantage of 12EDO, for example, its 17 and 19 harmonics, which are very well tuned.
-My pet peeve with 12EDO is that while it is the lowest EDO which ''can'' reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as too crude. It's a pythagorean tuning trying to masquerade as meantone. 72EDO offers a much better harmonic approximation while being very easy to build in a DAW.
+My pet peeve with 12EDO is that while it is the lowest EDO which ''can'' reliably be used for 5-limit (NOT 7-limit), I've grown to hear its approximations of them as a tad crude. Yes, it's a god-tier edo, but it's the absolute bare minimum.
-EDOs and temperaments serve a practical purpose, achieving maximum JI accuracy whilst offering minimum complexity, ease of conceptualization, and practicality. Having composed many pieces for diverse ensembles (and an opera, which I have yet to upload...), I reached the conclusion that the best way to approach microtonality, at least the kind that approaches JI, is to use electronics. Using acoustic instruments or raw interpretative skill requires a level of finesse and customization of building to which I have not the access to, neither on musicians or instrument luthiering.
+EDOs and temperaments serve a practical purpose, achieving maximum JI accuracy whilst offering minimum complexity, ease of conceptualization, and practicality. Having composed many pieces for diverse ensembles (and an opera, which I have yet to upload...), I reached the conclusion that the best way to approach xenharmonic, at least the kind that approaches JI, is to use electronics. Using acoustic instruments or raw interpretative skill requires a level of finesse and customization of building to which I have not the access to, neither on musicians or instrument luthiering.
+I don't generally do microtonality; that is, directly using very small steps melodically or harmonically. No. I find that yucky. I do xenharmony, however. Easy JI xenharmony. All of 4:5:6 and 10:12:15 and 7:9:11 and 8:10:13 and 10:13:15, plus all the scales.
 == Interests ==
 === Music ===
-My main drive in music is '''expanding tonality''' with higher-limit JI: at the very least in the 5- or 7-limit, and at the very most in the 23- or 29- limit.
+My main drive in music is '''expanding tonality''' with 13-limit JI: at the very least in the ya or yaza, and at the very most in the 29-limit. My favorite subgroup is the [[13-limit|yazalatha]], with possible 19 added into the mix. See [[User:Eufalesio/Harmonic tiers|Harmonic tiers]] for my analysis of primes.
-My fav edos are thusly 12, 19, 22, 31, 53, 72, 94, 159, 217, 311. I'd love to compose in 311edo but I have not yet found a way to do so.
-The biggest EDOs I would compose in are 217 and 311, since they offer a high quality representation of the 31-limit. I will not use EDOs any higher than 311 because it's already a god-tier EDO, any higher and the step size is way too small to be faithfully percieved.
-The next EDO that achieves a similar level of consistency is 1600EDO, which is ''almost'' consistent to the 45-odd-limit, missing 50/39 and 39/25, but those intervals can be easily fudged into 9/7 and 14/9.
+My favorite edo for most purposes is [[94edo]]. I don't use it to its entirety, but rather only for its cassandra yazalatha(na). It's so good, so easy to work with, and very decent. Worse ya, but I can swallow it.
-My fav scales are 5L2s (hard or soft), 5L7s (supersoft) and 12L5s (superhard), alongside 5L6s (ultrahard).
+The biggest EDOs I compose in is [[270edo]], since it offers an unbeatably good [[2.3.5.7.11.13.19 subgroup|yazalathana]]. I will not use EDOs any higher than 270edo because it's already a god-tier EDO, any higher and the step size is way too narrow to be faithfully percieved. See [[User:Eufalesio/EDO impressions|EDO impressions]] for more info.
-Big fan of other unequal JI scales such as Nicetone, or 24:26:28:30:32:36:39:42:45:48, which I dub the "harmonic bipentachord"
+My fav scales are Pyth-like 5L 7s and subsets, [[Ptolemy's intense diatonic|Zarlino]], [[Duodene]], [[8afdo]], and ''Ngwoóghe'' [ŋwǒːɣe] ''or Góqäi'' [ˈgɤqæi]
   ! harbipenchord13.scl
   !
-:26:28:30:32:36:39:42:45:48 made into a scale, "harmonic bipentachord"
+:26:28:30:32:36:39:42:45:48 made into a scale, "Ngwoóghe", "Góqäi"
   !
@@ Line 41: / Line 39: @@
 /8
 /1
-And the [[Carlos harmonic scale]]. My approach to these JI scales is either fudging or tempering with EDOs.
+And the [[Carlos harmonic scale]]. My approach to these JI scales with 94edo or 270edo, or fudging when unavailable.
+=== Theory ===
+Fan of [[color notation]] and [[sagittal]]. Interested in naming stuff and knowing what we're talking about with some semblance of certainty. In terms of compositional theory, I believe that the best approach to music is to follow the harmonic series as closely as possible, using low complexity otonality, harmonic segments melodically, and 13-limit expanded tonality, with '''very''' sparse and irregular additions of primes 19 and ''possibly'' 17.
+I don't care about essential tempering, VAOs, MOSes beyond the theoretical, or structural exploiting of edos and their symmetries barring easier navigation. JI is the journey, and temperaments are my boat.
+I do not believe that the harmonic series and the subharmonic series are mirror versions of each other. They are only in pitch space, but in any real musical context, their functions are vastly different. Harmonics play inside harmony, subharmonics define harmony. Since subharmonics define harmony, concatenating many subharmonics leads to a chord with pieces that don't fit. Bad. Melodically, subharmonics are incredibly potent, but for different reasons than harmonics.
+Ultimately I care more about praxis than about theory, my theory of theory being that it should be as descriptive, simple and intuitive as possible or be ultimately derived from praxis entirely, and all the thinking power should go to the actual music making. Theories are still important because the mental framework with which one makes music can, and does change, and learning about new ways to look at the same concepts is an important skill as an artist, I'd say.
+'''I stopped doing tuning theory''', essentially settling for [[User:Eufalesio/Ultimate|one temperament]], which allows me to meet all my goals and expand tonality exactly the way I want. By having a dead-accurate 13-limit. This system dances at the bleeding edge of JI, edos, temperaments and practicality, but I won't spoil you the fun. <big>Have a read. ''Join me in my quest.''</big>
 === Worldbuilding ===
@@ Line 52: / Line 61: @@
 == Articles ==
-* [[User:Eufalesio/Proposal to the Functional Just System]]
+=== Temperaments ===
-* [[User:Eufalesio/Eufa's JI voicing notation]]
+* [[User:Eufalesio/Ultimate|<big><big>Ultimate</big></big>]] (otherwise known as <small><small>[[cassaschismic]]</small></small>) It'd be funny if it was always spelt <big>big</big>.
+* [[User:Eufalesio/Important Tables|Important Tables]] (data dump)
+* [[User:Eufalesio/Fifth scale tree|Fifth scale tree]] (proposal)
+* [[User:Eufalesio/Mappings_of_edos|Mappings of edos]]
+=== Notation and speaking ===
+* [[User:Eufalesio/Enumeration|Enumeration]] (also edited by [[Kite Giedraitis]], deprecated article, see [[EFR]])
+* [[User:Eufalesio/Holopyth and Hemipyth|Holopyth and Hemipyth]] (systematic nomenclature for all of Hemipyth)
+* [[User:Eufalesio/Proposal to the Functional Just System|Proposal to the Functional Just System]] (old stuff)
+* [[User:Eufalesio/PLIN|PLIN]] (deprecated semantics blabbering)
+=== Miscellaneous: ===
+* [[User:Eufalesio/EDO_impressions|EDO impressions]] (obligatory opinionmaxxing, subject to change)
+* [[User:Eufalesio/How to build edos in DAWs|How to build edos in DAWs]] (applicable in Logic)
+* [[User:Eufalesio/Punctional Just System|Punctional Just System]] (joke)
+* [[User:Eufalesio/Moture's Extended Functional Just System|Moture's Extended Functional Just System]] (bad translation of someone's article)
 The list will be expanded further as more articles are published.