EDF: Difference between revisions
Wikispaces>JosephRuhf **Imported revision 339926470 - Original comment: ** |
Wikispaces>JosephRuhf **Imported revision 339930334 - 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:JosephRuhf|JosephRuhf]] and made on <tt>2012-05-27 | : This revision was by author [[User:JosephRuhf|JosephRuhf]] and made on <tt>2012-05-27 20:00:35 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>339930334</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> | ||
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Perhaps the first to divide the perfect fifth was [[Wendy Carlos]]. ( http://www.wendycarlos.com/resources/pitch.html ) [[Carlo Serafini]] has also made much use of the alpha beta and gamma scales. | Perhaps the first to divide the perfect fifth was [[Wendy Carlos]]. ( http://www.wendycarlos.com/resources/pitch.html ) [[Carlo Serafini]] has also made much use of the alpha beta and gamma scales. | ||
Incidentally, one way to treat 3/2 as an equivalence is the use of the 8:9:10:(12) chord as in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes six 5/4 to get to 9/8 (tempering out the comma 15625/15552. So, doing this yields 9, 11, and 20 note MOS which the Carlos scales temper equally. While the notes are rather closer together, the scheme is uncannily similar to meantone. "Microdiatonic" might be a good term for it if it hasn't been named yet, but in any case here is an example of it: http://www.youtube.com/watch?v=x_HSMND6RnA | Incidentally, one way to treat 3/2 as an equivalence is the use of the 8:9:10:(12) chord as in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes six 5/4 to get to 9/8 (tempering out the comma [[tel:15625/15552|15625/15552]]. So, doing this yields 9, 11, and 20 note MOS which the Carlos scales temper equally. While the notes are rather closer together, the scheme is uncannily similar to meantone. "Microdiatonic" might be a good term for it if it hasn't been named yet, but in any case here is an example of it: http://www.youtube.com/watch?v=x_HSMND6RnA | ||
[[4edf]] | [[4edf]] | ||
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[[Carlos Gamma|20 (Carlos Gamma)]] | [[Carlos Gamma|20 (Carlos Gamma)]] | ||
[[21edf]] | [[21edf]] | ||
[[22edf]] | |||
[[23edf]] | |||
=EDO-EDF correspondence= | =EDO-EDF correspondence= | ||
||~ EDO ||~ EDF ||~ Comments || | ||~ EDO ||~ EDF ||~ Comments || | ||
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|| [[35edo]] || || || | || [[35edo]] || || || | ||
|| [[36edo]] || [[21edf]] || || | || [[36edo]] || [[21edf]] || || | ||
|| 37edo || || || | || [[37edo]] || || || | ||
|| || || || | || [[38edo]] || [[22edf]] || || | ||
|| [[39edo]] || [[23edf]] || || | |||
|| [[40edo]] || || || | |||
|| || || ||</pre></div> | || || || ||</pre></div> | ||
<h4>Original HTML content:</h4> | <h4>Original HTML content:</h4> | ||
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Division of the 3:2 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of <a class="wiki_link" href="/equivalence">equivalence</a> is still in its infancy. The utility of 3:2 as a base though, is apparent by being one of the strongest consonances after the octave. Many, if not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy.<br /> | Division of the 3:2 into equal parts can be conceived of as to directly use this interval as an equivalence, or not. The question of <a class="wiki_link" href="/equivalence">equivalence</a> is still in its infancy. The utility of 3:2 as a base though, is apparent by being one of the strongest consonances after the octave. Many, if not all, of these scales have a perceptually important pseudo (false) octave, with various degrees of accuracy.<br /> | ||
<br /> | <br /> | ||
Perhaps the first to divide the perfect fifth was <a class="wiki_link" href="/Wendy%20Carlos">Wendy Carlos</a>. ( <!-- ws:start:WikiTextUrlRule: | Perhaps the first to divide the perfect fifth was <a class="wiki_link" href="/Wendy%20Carlos">Wendy Carlos</a>. ( <!-- ws:start:WikiTextUrlRule:597:http://www.wendycarlos.com/resources/pitch.html --><a class="wiki_link_ext" href="http://www.wendycarlos.com/resources/pitch.html" rel="nofollow">http://www.wendycarlos.com/resources/pitch.html</a><!-- ws:end:WikiTextUrlRule:597 --> ) <a class="wiki_link" href="/Carlo%20Serafini">Carlo Serafini</a> has also made much use of the alpha beta and gamma scales.<br /> | ||
<br /> | <br /> | ||
Incidentally, one way to treat 3/2 as an equivalence is the use of the 8:9:10:(12) chord as in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes six 5/4 to get to 9/8 (tempering out the comma 15625/15552. So, doing this yields 9, 11, and 20 note MOS which the Carlos scales temper equally. While the notes are rather closer together, the scheme is uncannily similar to meantone. &quot;Microdiatonic&quot; might be a good term for it if it hasn't been named yet, but in any case here is an example of it: <!-- ws:start:WikiTextUrlRule: | Incidentally, one way to treat 3/2 as an equivalence is the use of the 8:9:10:(12) chord as in a very similar way to the 4:5:6:(8) chord in meantone. Whereas in meantone it takes four 3/2 to get to 5/1, here it takes six 5/4 to get to 9/8 (tempering out the comma [[tel:15625/15552|15625/15552]]. So, doing this yields 9, 11, and 20 note MOS which the Carlos scales temper equally. While the notes are rather closer together, the scheme is uncannily similar to meantone. &quot;Microdiatonic&quot; might be a good term for it if it hasn't been named yet, but in any case here is an example of it: <!-- ws:start:WikiTextUrlRule:598:http://www.youtube.com/watch?v=x_HSMND6RnA --><a class="wiki_link_ext" href="http://www.youtube.com/watch?v=x_HSMND6RnA" rel="nofollow">http://www.youtube.com/watch?v=x_HSMND6RnA</a><!-- ws:end:WikiTextUrlRule:598 --><br /> | ||
<br /> | <br /> | ||
<a class="wiki_link" href="/4edf">4edf</a><br /> | <a class="wiki_link" href="/4edf">4edf</a><br /> | ||
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<a class="wiki_link" href="/Carlos%20Gamma">20 (Carlos Gamma)</a><br /> | <a class="wiki_link" href="/Carlos%20Gamma">20 (Carlos Gamma)</a><br /> | ||
<a class="wiki_link" href="/21edf">21edf</a><br /> | <a class="wiki_link" href="/21edf">21edf</a><br /> | ||
<a class="wiki_link" href="/22edf">22edf</a><br /> | |||
<a class="wiki_link" href="/23edf">23edf</a><br /> | |||
<!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="EDO-EDF correspondence"></a><!-- ws:end:WikiTextHeadingRule:2 -->EDO-EDF correspondence</h1> | <!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="EDO-EDF correspondence"></a><!-- ws:end:WikiTextHeadingRule:2 -->EDO-EDF correspondence</h1> | ||
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</tr> | </tr> | ||
<tr> | <tr> | ||
<td>37edo<br /> | <td><a class="wiki_link" href="/37edo">37edo</a><br /> | ||
</td> | </td> | ||
<td><br /> | <td><br /> | ||
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</tr> | </tr> | ||
<tr> | <tr> | ||
<td><a class="wiki_link" href="/38edo">38edo</a><br /> | |||
</td> | |||
<td><a class="wiki_link" href="/22edf">22edf</a><br /> | |||
</td> | |||
<td><br /> | <td><br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/39edo">39edo</a><br /> | |||
</td> | |||
<td><a class="wiki_link" href="/23edf">23edf</a><br /> | |||
</td> | |||
<td><br /> | |||
</td> | |||
</tr> | |||
<tr> | |||
<td><a class="wiki_link" href="/40edo">40edo</a><br /> | |||
</td> | </td> | ||
<td><br /> | <td><br /> | ||