EDF: Difference between revisions
Wikispaces>JosephRuhf **Imported revision 339920798 - Original comment: ** |
Wikispaces>JosephRuhf **Imported revision 339921708 - 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:JosephRuhf|JosephRuhf]] and made on <tt>2012-05-27 19: | : This revision was by author [[User:JosephRuhf|JosephRuhf]] and made on <tt>2012-05-27 19:18:09 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>339921708</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 83: | Line 83: | ||
Patent vals match through the 5 limit, but not the 7 limit. | Patent vals match through the 5 limit, but not the 7 limit. | ||
If you don't think Carlos gamma is accurately represented by 34edo then ignore this correspondence. || | If you don't think Carlos gamma is accurately represented by 34edo then ignore this correspondence. || | ||
|| 35edo || || || | |||
|| || || ||</pre></div> | || || || ||</pre></div> | ||
<h4>Original HTML content:</h4> | <h4>Original HTML content:</h4> | ||
| Line 89: | Line 90: | ||
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:529: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:529 --> ) <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 [[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: | 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:530: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:530 --><br /> | ||
<br /> | <br /> | ||
<br /> | <br /> | ||
| Line 415: | Line 416: | ||
Patent vals match through the 5 limit, but not the 7 limit.<br /> | Patent vals match through the 5 limit, but not the 7 limit.<br /> | ||
If you don't think Carlos gamma is accurately represented by 34edo then ignore this correspondence.<br /> | If you don't think Carlos gamma is accurately represented by 34edo then ignore this correspondence.<br /> | ||
</td> | |||
</tr> | |||
<tr> | |||
<td>35edo<br /> | |||
</td> | |||
<td><br /> | |||
</td> | |||
<td><br /> | |||
</td> | </td> | ||
</tr> | </tr> | ||