Whitewood family: Difference between revisions
Wikispaces>genewardsmith **Imported revision 191845142 - Original comment: ** |
Wikispaces>guest **Imported revision 197666844 - Original comment: ** |
||
| Line 1: | Line 1: | ||
<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User: | : This revision was by author [[User:guest|guest]] and made on <tt>2011-02-01 00:04:25 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>197666844</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
| Line 14: | Line 14: | ||
Another interesting property is that it becomes possible to construct "super linked" 5-limit chords. In Whitewood[14] (or Blackwood[10]), if one stacks alternating major and minor thirds on top of one another, one will eventually come back to the root without ever hitting a wall, and hence the pattern can continue forever. Since all of the diatonic modes can be thought of as a stacked chain of 7 alternating thirds, placed in inversion, this means that Whitewood[14] and Blackwood[10] also make for excellent "panmodal" scales, in which you can construct "modal" sounding sonorities in one key that will work in all keys. | Another interesting property is that it becomes possible to construct "super linked" 5-limit chords. In Whitewood[14] (or Blackwood[10]), if one stacks alternating major and minor thirds on top of one another, one will eventually come back to the root without ever hitting a wall, and hence the pattern can continue forever. Since all of the diatonic modes can be thought of as a stacked chain of 7 alternating thirds, placed in inversion, this means that Whitewood[14] and Blackwood[10] also make for excellent "panmodal" scales, in which you can construct "modal" sounding sonorities in one key that will work in all keys. | ||
Lastly, while blackwood fifths are sharp and thus | Lastly, while blackwood fifths are sharp and thus necessitate the tuning as a whole to be sharp-leaning, whitewood fifths are flat and thus this tuning is generally flat-leaning. | ||
=__5-limit__= | =__5-limit__= | ||
| Line 61: | Line 61: | ||
Another interesting property is that it becomes possible to construct &quot;super linked&quot; 5-limit chords. In Whitewood[14] (or Blackwood[10]), if one stacks alternating major and minor thirds on top of one another, one will eventually come back to the root without ever hitting a wall, and hence the pattern can continue forever. Since all of the diatonic modes can be thought of as a stacked chain of 7 alternating thirds, placed in inversion, this means that Whitewood[14] and Blackwood[10] also make for excellent &quot;panmodal&quot; scales, in which you can construct &quot;modal&quot; sounding sonorities in one key that will work in all keys.<br /> | Another interesting property is that it becomes possible to construct &quot;super linked&quot; 5-limit chords. In Whitewood[14] (or Blackwood[10]), if one stacks alternating major and minor thirds on top of one another, one will eventually come back to the root without ever hitting a wall, and hence the pattern can continue forever. Since all of the diatonic modes can be thought of as a stacked chain of 7 alternating thirds, placed in inversion, this means that Whitewood[14] and Blackwood[10] also make for excellent &quot;panmodal&quot; scales, in which you can construct &quot;modal&quot; sounding sonorities in one key that will work in all keys.<br /> | ||
<br /> | <br /> | ||
Lastly, while blackwood fifths are sharp and thus | Lastly, while blackwood fifths are sharp and thus necessitate the tuning as a whole to be sharp-leaning, whitewood fifths are flat and thus this tuning is generally flat-leaning.<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="x5-limit"></a><!-- ws:end:WikiTextHeadingRule:0 --><u>5-limit</u></h1> | <!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="x5-limit"></a><!-- ws:end:WikiTextHeadingRule:0 --><u>5-limit</u></h1> | ||