Bug and beep: Difference between revisions

Cleanup
+interval chain
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The edos whose [[patent val]]s support beep are [[4edo]], [[5edo]], [[9edo]], and [[14edo]]. Many other edos can be used as non-patent vals, such as 13.
The edos whose [[patent val]]s support beep are [[4edo]], [[5edo]], [[9edo]], and [[14edo]]. Many other edos can be used as non-patent vals, such as 13.


== Interval chain ==
In the following table, odd harmonics 1–9 are labeled in '''bold'''.
{| class="wikitable center-1 right-2"
|-
! #
! Cents*
! Approximate Ratios
|-
| 0
| 0.0
| '''1/1'''
|-
| 1
| 940.7
| 5/3, '''7/4''', 12/7, 9/5
|-
| 2
| 681.4
| '''3/2''', 10/7
|-
| 3
| 422.1
| '''5/4''', 9/7
|-
| 4
| 162.8
| '''9/8'''
|-
| 5
| 1103.5
| 15/8
|}
<nowiki>*</nowiki> octave reduced, in 7-limit CTE tuning
== Chords and harmony ==
In beep, the 7-limit tetrad has very low [[Graham complexity]] (only 3). The fact that [[7/5]] is also [[4/3]] allows a type of "tritone substitution" distinct from that which appears in [[jubilismic]] temperaments; namely, one in which the 4/3 of one chord becomes the 7/5 of the next or vice versa. This is equivalent to modulating upward or downward by a generator. The more usual type of modulation (upward or downward by fifths) is also easy since two generators make a fifth. These tetrads, despite being relatively inaccurate, are still easily recognizable and not necessarily unpleasant-sounding (though of course it depends on the timbre of the instrument they are played on). Another thing to watch out for is that due to tempering, the tetrads are of the form Lsss, which means they are their own inverses (i.e. the utonal and otonal tetrads are the same). The 4:5:6:7 and 5:6:7:9 tetrads are also the same. This gives them a chameleonic quality, akin to power chords; they can sound either major or minor, which strongly depends on the voicing used. The terms major and minor can still be used to refer to ''inversions'' of the basic tetrad (the major inversion being Lsss, and the minor inversion being sLss).
In beep, the 7-limit tetrad has very low [[Graham complexity]] (only 3). The fact that [[7/5]] is also [[4/3]] allows a type of "tritone substitution" distinct from that which appears in [[jubilismic]] temperaments; namely, one in which the 4/3 of one chord becomes the 7/5 of the next or vice versa. This is equivalent to modulating upward or downward by a generator. The more usual type of modulation (upward or downward by fifths) is also easy since two generators make a fifth. These tetrads, despite being relatively inaccurate, are still easily recognizable and not necessarily unpleasant-sounding (though of course it depends on the timbre of the instrument they are played on). Another thing to watch out for is that due to tempering, the tetrads are of the form Lsss, which means they are their own inverses (i.e. the utonal and otonal tetrads are the same). The 4:5:6:7 and 5:6:7:9 tetrads are also the same. This gives them a chameleonic quality, akin to power chords; they can sound either major or minor, which strongly depends on the voicing used. The terms major and minor can still be used to refer to ''inversions'' of the basic tetrad (the major inversion being Lsss, and the minor inversion being sLss).


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{| class="wikitable"
{| class="wikitable"
|-
|-
! [[Cent]]s
! Cents
! Generator Steps
! Generator Steps
|-
|-
| | 0
| 0
| | 0
| 0
|-
|-
| | 116
| 116
| | -4
| -4
|-
|-
| | 271
| 271
| | 1
| 1
|-
|-
| | 387
| 387
| | -3
| -3
|-
|-
| | 542
| 542
| | 2
| 2
|-
|-
| | 658
| 658
| | -2
| -2
|-
|-
| | 813 (or 774)
| 813 (or 774)
| | 3 (or -6)
| 3 (or -6)
|-
|-
| | 929
| 929
| | -1
| -1
|-
|-
| | 1045
| 1045
| | -5
| -5
|}
|}