Cassandra triads: Difference between revisions
Wikispaces>MasonGreen1 **Imported revision 568514835 - Original comment: ** |
Wikispaces>MasonGreen1 **Imported revision 568514967 - Original comment: ** |
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<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:MasonGreen1|MasonGreen1]] and made on <tt>2015-12-01 17: | : This revision was by author [[User:MasonGreen1|MasonGreen1]] and made on <tt>2015-12-01 17:46:07 UTC</tt>.<br> | ||
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This leaves open the possibility that a chord intermediate between minor and subminor could be heard as both an otonal 6:7:9 //and// as a utonal 1 / (6:5:4). As such, as a compromise between these two triads, it has a reasonably strong common overtone //and// fundamental. | This leaves open the possibility that a chord intermediate between minor and subminor could be heard as both an otonal 6:7:9 //and// as a utonal 1 / (6:5:4). As such, as a compromise between these two triads, it has a reasonably strong common overtone //and// fundamental. | ||
This, in fact, could be how the Cassandra minor chord is perceived and why it is so consonant, even though the individual thirds that make it up are not. These chords could be called "Borromean" in that sense, and this gives them a certain "indivisible" quality. This makes them sound more cohesive to me. | This, in fact, could be how the Cassandra minor chord is perceived and why it is so consonant, even though the individual thirds that make it up are not consonant as dyads. These chords could be called "Borromean" in that sense, and this gives them a certain "indivisible" quality. This makes them sound more cohesive to me. | ||
In 29edo, the Cassandra triads are actually not even the closest approximations for either minor or subminor; you need to use a non-[[patent val]] approximations to use them in this manner, yet despite being non-patent they are reasonably convincing and this makes "val-switching" in compositions a reasonable option. Val-switching adds a great deal of flexibility and new [[comma pump]] options. Also, it means that 12edo melodies can be transferred to 29edo easily if in certain circumstances we use the cassandra chords in place of the //patent// minor and major triads.</pre></div> | In 29edo, the Cassandra triads are actually not even the closest approximations for either minor or subminor; you need to use a non-[[patent val]] approximations to use them in this manner, yet despite being non-patent they are reasonably convincing and this makes "val-switching" in compositions a reasonable option. Val-switching adds a great deal of flexibility and new [[comma pump]] options. Also, it means that 12edo melodies can be transferred to 29edo easily if in certain circumstances we use the cassandra chords in place of the //patent// minor and major triads.</pre></div> | ||
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This leaves open the possibility that a chord intermediate between minor and subminor could be heard as both an otonal 6:7:9 <em>and</em> as a utonal 1 / (6:5:4). As such, as a compromise between these two triads, it has a reasonably strong common overtone <em>and</em> fundamental.<br /> | This leaves open the possibility that a chord intermediate between minor and subminor could be heard as both an otonal 6:7:9 <em>and</em> as a utonal 1 / (6:5:4). As such, as a compromise between these two triads, it has a reasonably strong common overtone <em>and</em> fundamental.<br /> | ||
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This, in fact, could be how the Cassandra minor chord is perceived and why it is so consonant, even though the individual thirds that make it up are not. These chords could be called &quot;Borromean&quot; in that sense, and this gives them a certain &quot;indivisible&quot; quality. This makes them sound more cohesive to me.<br /> | This, in fact, could be how the Cassandra minor chord is perceived and why it is so consonant, even though the individual thirds that make it up are not consonant as dyads. These chords could be called &quot;Borromean&quot; in that sense, and this gives them a certain &quot;indivisible&quot; quality. This makes them sound more cohesive to me.<br /> | ||
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In 29edo, the Cassandra triads are actually not even the closest approximations for either minor or subminor; you need to use a non-<a class="wiki_link" href="/patent%20val">patent val</a> approximations to use them in this manner, yet despite being non-patent they are reasonably convincing and this makes &quot;val-switching&quot; in compositions a reasonable option. Val-switching adds a great deal of flexibility and new <a class="wiki_link" href="/comma%20pump">comma pump</a> options. Also, it means that 12edo melodies can be transferred to 29edo easily if in certain circumstances we use the cassandra chords in place of the <em>patent</em> minor and major triads.</body></html></pre></div> | In 29edo, the Cassandra triads are actually not even the closest approximations for either minor or subminor; you need to use a non-<a class="wiki_link" href="/patent%20val">patent val</a> approximations to use them in this manner, yet despite being non-patent they are reasonably convincing and this makes &quot;val-switching&quot; in compositions a reasonable option. Val-switching adds a great deal of flexibility and new <a class="wiki_link" href="/comma%20pump">comma pump</a> options. Also, it means that 12edo melodies can be transferred to 29edo easily if in certain circumstances we use the cassandra chords in place of the <em>patent</em> minor and major triads.</body></html></pre></div> | ||