Crossbone tuning: Difference between revisions

(3 intermediate revisions by 3 users not shown)

Line 33:

The first order of the Crossbone Tuning encompasses the first pair of twin pair of twin primes separated by 12, the set {5,7}|{17,19}.

The septave and pentave are not based around the octave, thus each individual septave and pentave will be completely unique and be found to approximate different intervals. Notice below that many of the intervals approximated happen to be harmonics! Those which are not harmonics happen to be readily usable just intervals no greater than 7-limit in the first sepent and 11-limit in the second sepent. (The sepent refers to the total keyspace represented by the pentave followed by the septave.)

The septave and pentave are not based around the [[octave]], thus each individual septave and pentave will be completely unique and be found to approximate different intervals. Notice below that many of the intervals approximated happen to be harmonics! Those which are not harmonics happen to be readily usable just intervals no greater than 7-limit in the first sepent and 11-limit in the second sepent. (The sepent refers to the total keyspace represented by the pentave followed by the septave.)

One beautiful alignment of the 1st order of Crossbone is that it uses a combination of 17 and 19 tones. We notice that the standard 12-tone keyboard has 12 keys broken into a grouping of 5 notes and a grouping of 7 notes. This means that Crossbones tuning can be easily realized on any 'standard' keyboard, the first 5 7 5 grouping of keys representing the pentave, the second 7 5 7 grouping of keys representing the septave... spanning a total key range of 3 12-tone octaves, coinciding beautifully with the fact that the natural septave and pentave naturally occur between the 2nd and 3rd standard octave. Note that below, the intervals represented are octave-reduced, though the true harmonic range of the septave and pentave are true and preserved on the keyboard, representing the absolute pitch approximation I find to be much more intuitive in comparison to the octave-equivalent versions (ex. a twelfth being represented as 3/2 though sounding as a twelfth).

Line 277:

'''15/8''' - 5-limit major seventh

Because the scale is octave-repeating (though derived from the sepent), all sorts of 7-limit inversional fun can be had, and because it is 12-tone, it can be played on a standard keyboard.

Because the scale is [[Octave equivalence|octave-repeating]] (though derived from the sepent), all sorts of [[7-limit]] inversional fun can be had, and because it is [[Category:12-tone scales|12-tone]], it can be played on a standard keyboard.

[[Category:Crossbone]]

[[Category:~~Edt~~]]

[[Category:Edonoi]]

[[Category:Lattice]]

~~[[Category:Temperament]]~~

[[Category:Tuning]]

@@ Line 33: / Line 33: @@
 The first order of the Crossbone Tuning encompasses the first pair of twin pair of twin primes separated by 12, the set {5,7}|{17,19}.
-The septave and pentave are not based around the octave, thus each individual septave and pentave will be completely unique and be found to approximate different intervals. Notice below that many of the intervals approximated happen to be harmonics! Those which are not harmonics happen to be readily usable just intervals no greater than 7-limit in the first sepent and 11-limit in the second sepent. (The sepent refers to the total keyspace represented by the pentave followed by the septave.)
+The septave and pentave are not based around the [[octave]], thus each individual septave and pentave will be completely unique and be found to approximate different intervals. Notice below that many of the intervals approximated happen to be harmonics! Those which are not harmonics happen to be readily usable just intervals no greater than 7-limit in the first sepent and 11-limit in the second sepent. (The sepent refers to the total keyspace represented by the pentave followed by the septave.)
 One beautiful alignment of the 1st order of Crossbone is that it uses a combination of 17 and 19 tones. We notice that the standard 12-tone keyboard has 12 keys broken into a grouping of 5 notes and a grouping of 7 notes. This means that Crossbones tuning can be easily realized on any 'standard' keyboard, the first 5 7 5 grouping of keys representing the pentave, the second 7 5 7 grouping of keys representing the septave... spanning a total key range of 3 12-tone octaves, coinciding beautifully with the fact that the natural septave and pentave naturally occur between the 2nd and 3rd standard octave. Note that below, the intervals represented are octave-reduced, though the true harmonic range of the septave and pentave are true and preserved on the keyboard, representing the absolute pitch approximation I find to be much more intuitive in comparison to the octave-equivalent versions (ex. a twelfth being represented as 3/2 though sounding as a twelfth).
@@ Line 277: / Line 277: @@
 '''15/8''' - 5-limit major seventh
-Because the scale is octave-repeating (though derived from the sepent), all sorts of 7-limit inversional fun can be had, and because it is 12-tone, it can be played on a standard keyboard.
+Because the scale is [[Octave equivalence|octave-repeating]] (though derived from the sepent), all sorts of [[7-limit]] inversional fun can be had, and because it is [[Category:12-tone scales|12-tone]], it can be played on a standard keyboard.
 [[Category:Crossbone]]
-[[Category:Edt]]
+[[Category:Edonoi]]
 [[Category:Lattice]]
-[[Category:Temperament]]
 [[Category:Tuning]]