Armodue harmony: Difference between revisions
Wikispaces>guest **Imported revision 162577475 - Original comment: ** |
Wikispaces>tetraF **Imported revision 162644799 - 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:tetraF|tetraF]] and made on <tt>2010-09-14 17:23:57 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>162644799</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 307: | Line 307: | ||
To understand the nature of such accordances we should refer to specular reflections of light in a crystal, according to a tidy symmetry. | To understand the nature of such accordances we should refer to specular reflections of light in a crystal, according to a tidy symmetry. | ||
{ ! -- rough translation begins here --} | |||
An image that comes in mind about is the eight pointed 'star' sometimes appear in a photo area when the lens is stroke by a rather intense light source. | |||
The Scriabin idea, so, is to render {paint?} this optical phenomena through the sounds. | |||
From here the formation of a center-note (luminous central source) from which departs upper interval-rays and relative higher notes and, for simmetry or {mirrority?} law, lower reflected rays-intervals with equal amplitude but with upside-down direction and with relative notes lower than central note. | |||
The central note so is called much properly nucleopolar note, out-and-out mirror where lower intervals and low notes reflects themselves in the higher intevals and the high notes. | |||
The resulting chord - builded in perfect central simmetry or nucleopolarity - be the main sound plant at whom referring in the melody texture and int hte chord's architecture. | |||
The modulation principle, in this sphere, must be meant as the least and | |||
gradual variation of wideness of one or several intervals that are pivoted on the chord's nucleopolar note, or - more drastically - must be read as a radical and brusque transformation of the same intervals. | |||
In Armodue, the nucleopolar harmony cans find a wider and more perfect enforcement, compared to twelve notes system. IN fact, a sixteen notes scale seems already to contain implicitly the central simmetry principle (sixteen is the perfect square of a perfect square -4- and corresponds to the mandala archetype as conceived in the almost entirety of world's cultures and traditions: an eight or sixteens rays wheel). | |||
Let's assume, if example, the note 5 as nucleopolar. The note 5 will work as a mirror in which lower and higher intervals and notes will reflects. | |||
If we elect the three intevals of six, eight and thirteen eka it will generate the sound structure (readed notes from left to right proceed neatly from low to high): | |||
7 - 9 - 1# - 5 - 8 - 9 - 3 | |||
As we can verify, from the note 5 it spreads the two mirrored six eka intervals (defined by notes 1# - 5 and 5 - 8), the two intervals of eight eka (defined by notes 9 - 5 and 5 - 9) and the two intevals of thirteen eka (defined by notes 7 - 5 and 5 - 3). | |||
We have so obtained three notes lower than nucleopolar 5 (the 7, 9 and 1#) and three higher than the same note 5 (the 8, 9, 3 notes) | |||
The sound structure so obtained can be used as is in the construction of melody and chords, or it can be liable to undergo microvariations and be modulated. | |||
If example, we can just bring a slight variation - so an asimmetry - that momentarily destabilize but in a significant way the strict "crystallinity" of sound altering the note 1# for bend one eka (substituting with note 2): | |||
7 - 9 - 2 - 5 - 8 - 9 - 3 | |||
Later, we can restore the perfect equilibrium and simmetry of sonor structure altering in equal sense and contrary the note 8 that balances the note 2 (the 8 so goes down - in diametrally opposite way - of one eka and so substituted with note 7#): | |||
7 - 9 - 2 - 5 - 7# - 9 - 3 | |||
The shown microvariation principle can be obviously applied also to more than a single note simultaneously. | |||
In other circumstances, we can integrate the original structure with the addition of new intervals and notes or changing radically the structure by employing different generator intervals. | |||
{ ! -- end of rough translation --} | |||
---- | ---- | ||
Chapter 5: | Chapter 5: | ||
| Line 633: | Line 656: | ||
To understand the nature of such accordances we should refer to specular reflections of light in a crystal, according to a tidy symmetry.<br /> | To understand the nature of such accordances we should refer to specular reflections of light in a crystal, according to a tidy symmetry.<br /> | ||
<br /> | <br /> | ||
{ ! -- rough translation begins here --}<br /> | |||
<br /> | |||
<br /> | |||
An image that comes in mind about is the eight pointed 'star' sometimes appear in a photo area when the lens is stroke by a rather intense light source.<br /> | |||
The Scriabin idea, so, is to render {paint?} this optical phenomena through the sounds.<br /> | |||
From here the formation of a center-note (luminous central source) from which departs upper interval-rays and relative higher notes and, for simmetry or {mirrority?} law, lower reflected rays-intervals with equal amplitude but with upside-down direction and with relative notes lower than central note.<br /> | |||
The central note so is called much properly nucleopolar note, out-and-out mirror where lower intervals and low notes reflects themselves in the higher intevals and the high notes.<br /> | |||
The resulting chord - builded in perfect central simmetry or nucleopolarity - be the main sound plant at whom referring in the melody texture and int hte chord's architecture.<br /> | |||
The modulation principle, in this sphere, must be meant as the least and <br /> | |||
gradual variation of wideness of one or several intervals that are pivoted on the chord's nucleopolar note, or - more drastically - must be read as a radical and brusque transformation of the same intervals.<br /> | |||
In Armodue, the nucleopolar harmony cans find a wider and more perfect enforcement, compared to twelve notes system. IN fact, a sixteen notes scale seems already to contain implicitly the central simmetry principle (sixteen is the perfect square of a perfect square -4- and corresponds to the mandala archetype as conceived in the almost entirety of world's cultures and traditions: an eight or sixteens rays wheel).<br /> | |||
Let's assume, if example, the note 5 as nucleopolar. The note 5 will work as a mirror in which lower and higher intervals and notes will reflects.<br /> | |||
If we elect the three intevals of six, eight and thirteen eka it will generate the sound structure (readed notes from left to right proceed neatly from low to high):<br /> | |||
7 - 9 - 1# - 5 - 8 - 9 - 3<br /> | |||
As we can verify, from the note 5 it spreads the two mirrored six eka intervals (defined by notes 1# - 5 and 5 - 8), the two intervals of eight eka (defined by notes 9 - 5 and 5 - 9) and the two intevals of thirteen eka (defined by notes 7 - 5 and 5 - 3).<br /> | |||
We have so obtained three notes lower than nucleopolar 5 (the 7, 9 and 1#) and three higher than the same note 5 (the 8, 9, 3 notes)<br /> | |||
The sound structure so obtained can be used as is in the construction of melody and chords, or it can be liable to undergo microvariations and be modulated.<br /> | |||
If example, we can just bring a slight variation - so an asimmetry - that momentarily destabilize but in a significant way the strict &quot;crystallinity&quot; of sound altering the note 1# for bend one eka (substituting with note 2):<br /> | |||
7 - 9 - 2 - 5 - 8 - 9 - 3<br /> | |||
Later, we can restore the perfect equilibrium and simmetry of sonor structure altering in equal sense and contrary the note 8 that balances the note 2 (the 8 so goes down - in diametrally opposite way - of one eka and so substituted with note 7#):<br /> | |||
7 - 9 - 2 - 5 - 7# - 9 - 3<br /> | |||
The shown microvariation principle can be obviously applied also to more than a single note simultaneously.<br /> | |||
In other circumstances, we can integrate the original structure with the addition of new intervals and notes or changing radically the structure by employing different generator intervals.<br /> | |||
<br /> | <br /> | ||
<br /> | <br /> | ||
{ ! -- end of rough translation --}<br /> | |||
<hr /> | <hr /> | ||
Chapter 5: <br /> | Chapter 5: <br /> | ||