User:CritDeathX/Sam's Idea Of Consonance: Difference between revisions

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Okay, so a while back, I had developed this method of finding how consonant a chord was. The basic idea was to find how many combination/difference tones lined up with a chord.

== Linear Tones ==

=== Formula ===

In order to find what tones line up with the chord, the resulting tone must either be

# The number up/down whatever octaves [h*(2^x)]. (''e.g., 1/4, 3/6, 26/13'')

Line 7:

Line 10:

Thus, by these rules, it cannot line up if it results in any other harmonic/interval.

== Demonstration ==

=== Demonstration ===

I'll show an example of what I mean using 4:5:6.

Line 54:

Line 57:

''etc...''

An interesting thing to note is that after the 5-note chord, the amount of times that the tones line up rises linearly by 2x.

An interesting thing to note is that after the 5-note chord, the amount of times that the linear tones line up rises linearly by 2x.

To show an example of this method with the added reference, I'll show how 9:11:13 works here.

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== Harmonal Limits ==

This is a term that I'm coining to describe certain patterns or outliers within a series of chords or a scale(s) based off of their ~~combination/difference~~ tones.

This is a term that I'm coining to describe certain patterns or outliers within a series of chords or a scale(s) based off of their linear tones.

~~For example, here~~'s [[:File:Erv Wilson's Fibonnaci Progression.png|an example progression using a Fibonnaci sequence from Erv Wilson's letter to McLaren]]. We can look at the tones of these chords and see whether we can notice anything interesting:

=== Chord Progressions ===

Here's [[:File:Erv Wilson's Fibonnaci Progression.png|an example progression using a Fibonnaci sequence from Erv Wilson's letter to McLaren]]. We can look at the linear tones of these chords and see whether we can notice anything interesting:

{| class="wikitable"

!1st chord

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Line 102:

|}

Although its hard to figure out how to represent harmonal limits, I think the best way to do it is to have ([lowest number of unique notes in a chord]-[highest]) on the denominator and have ([lowest linear tone]-[highest]) on the denominator. In this case, it would look like (8-10)/(3-4), which if we were to translate this into a proper number it would equal 2.

=== Singular Chords ===

When it comes to just one chord, though, it'd be best to rely on which note most of the linear tones are found. For example, 9:11:13 in the last headliner had most of its linear tones occur on 9, so since 3 linear tones appeared on 9, we can say that the harmonal limit for this chord is 3.

@@ Line 1: / Line 1: @@
 Okay, so a while back, I had developed this method of finding how consonant a chord was. The basic idea was to find how many combination/difference tones lined up with a chord.
+== Linear Tones ==
+=== Formula ===
 In order to find what tones line up with the chord, the resulting tone must either be
 # The number up/down whatever octaves [h*(2^x)]. (''e.g., 1/4, 3/6, 26/13'')
@@ Line 7: / Line 10: @@
 Thus, by these rules, it cannot line up if it results in any other harmonic/interval.
-== Demonstration ==
+=== Demonstration ===
 I'll show an example of what I mean using 4:5:6.
@@ Line 54: / Line 57: @@
 ''etc...''
-An interesting thing to note is that after the 5-note chord, the amount of times that the tones line up rises linearly by 2x.
+An interesting thing to note is that after the 5-note chord, the amount of times that the linear tones line up rises linearly by 2x.
 To show an example of this method with the added reference, I'll show how 9:11:13 works here.
@@ Line 75: / Line 78: @@
 == Harmonal Limits ==
-This is a term that I'm coining to describe certain patterns or outliers within a series of chords or a scale(s) based off of their combination/difference tones.
+This is a term that I'm coining to describe certain patterns or outliers within a series of chords or a scale(s) based off of their linear tones.
-For example, here's [[:File:Erv Wilson's Fibonnaci Progression.png|an example progression using a Fibonnaci sequence from Erv Wilson's letter to McLaren]]. We can look at the tones of these chords and see whether we can notice anything interesting:
+=== Chord Progressions ===
+Here's [[:File:Erv Wilson's Fibonnaci Progression.png|an example progression using a Fibonnaci sequence from Erv Wilson's letter to McLaren]]. We can look at the linear tones of these chords and see whether we can notice anything interesting:
 {| class="wikitable"
 !1st chord
@@ Line 98: / Line 102: @@
 |}
 Although its hard to figure out how to represent harmonal limits, I think the best way to do it is to have ([lowest number of unique notes in a chord]-[highest]) on the denominator and have ([lowest linear tone]-[highest]) on the denominator. In this case, it would look like (8-10)/(3-4), which if we were to translate this into a proper number it would equal 2.
+=== Singular Chords ===
+When it comes to just one chord, though, it'd be best to rely on which note most of the linear tones are found. For example, 9:11:13 in the last headliner had most of its linear tones occur on 9, so since 3 linear tones appeared on 9, we can say that the harmonal limit for this chord is 3.