128afdo: Difference between revisions
Added infobox |
Mentioned its value in primodal music |
||
| Line 8: | Line 8: | ||
An illustratively surprising result of this higher harmonic tuning is that, since a just [[4/3]] does not have a power of 2 in the denominator and thus does not exist in the (octave-reduced) harmonic series, it will not be used in this tuning. Instead, when the inverse of the [[3/2]] ratio is needed, one may use [[43/32]] (511.517706¢) or [[171/128]] (501.423018¢). | An illustratively surprising result of this higher harmonic tuning is that, since a just [[4/3]] does not have a power of 2 in the denominator and thus does not exist in the (octave-reduced) harmonic series, it will not be used in this tuning. Instead, when the inverse of the [[3/2]] ratio is needed, one may use [[43/32]] (511.517706¢) or [[171/128]] (501.423018¢). | ||
Due to having only one prime factor (2), yet also being a higher octave of a prime mode (mode 2), it is a very strong tuning for [[primodality]], providing a large gamut of intervals without compromising their clear prime identity. | |||
== Reading == | == Reading == | ||
| Line 41: | Line 43: | ||
Composers John Eaton, Rovner, Thoegersen, Golden, and others have also worked with 8<sup>th</sup> Octave Overtone Tuning. | Composers John Eaton, Rovner, Thoegersen, Golden, and others have also worked with 8<sup>th</sup> Octave Overtone Tuning. | ||
[[Category:Harmonic series]] | [[Category:Harmonic series]] | ||
[[Category:Primodality]] | |||
[[Category:Listen]] | [[Category:Listen]] | ||
Revision as of 07:33, 26 February 2024
The 8th Octave Overtone Tuning, sometimes known as 128 Tuning or 128afdo, is a tuning developed by Johnny Reinhard.
It consists of harmonics of the harmonic series, numbers 128 (28, hence 8th octave) through 255. It is an Over-1 scale, specifically Mode 128 of the harmonic series.
Scales can be selected as subsets of these 128 pitches, or the entire set can be used.
A key benefit of using pitches exclusively from the same harmonic series is that they share a fundamental. By using the 8th octave of a harmonic series, said fundamental will almost certainly be infrasonic, but it will still have a psychoacoustic presence.
An illustratively surprising result of this higher harmonic tuning is that, since a just 4/3 does not have a power of 2 in the denominator and thus does not exist in the (octave-reduced) harmonic series, it will not be used in this tuning. Instead, when the inverse of the 3/2 ratio is needed, one may use 43/32 (511.517706¢) or 171/128 (501.423018¢).
Due to having only one prime factor (2), yet also being a higher octave of a prime mode (mode 2), it is a very strong tuning for primodality, providing a large gamut of intervals without compromising their clear prime identity.
Reading
Johnny Reinhard's original paper.
Johnny Reinhard - 8th Octave Overtone Tuning and Bassoon Fingerings in 128
See also
The tuning for Nursery Tunes for Demented Children by Kyle Gann is a subset of 8th Octave Overtone Tuning.
Scores
Listening
Georg Friedrich Haas - FOR JOHNNY REINHARD for bassoon in 128
Juhani Nuorvala - Toivo 128 for bassoon and pre-recording
Well Tuned Piano (actually up to the 11th octave harmonics, but same idea)
Symphony #3 “Gloria” (actually only the 7th octave harmonics, but the same idea)
128 notes per octave on Alto Saxophone - Philipp Gerschlauer
Composers John Eaton, Rovner, Thoegersen, Golden, and others have also worked with 8th Octave Overtone Tuning.