User:Holger Stoltenberg/sandbox: Difference between revisions

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The concept is a step towards building an electronic keyboard instrument that allows the player to interactively map ''sequences of [[Rational interval|rational intervals]]'' to consecutive keys – in real time, even live on stage. Therefore, the player needs convenient and intuitive access to the mapping process, which becomes an integral part of the musical performance.

With a prototypical instrument in place, the search for ''intermediary chords'' in tonal music begins. We can ~~try to~~ identify (and play) supplementary consonant chords that fit seamlessly into the gaps of familiar chord progressions.

With a prototypical instrument in place, the search for ''intermediary chords'' in tonal music begins. We can identify (and play) supplementary consonant chords that fit seamlessly into the gaps of familiar chord progressions. Listen to the following two audio examples to get the idea...

{| class="wikitable"

! Listen to

! Control

! Info

|-

| ...a sequence of four beatless minor chords || [[File:Audio1_tonal_space_I-min+IV-min.mp3|270px]]|| <math>I</math>-min, <math>I</math>-min, <math>IV</math>-min, <math>IV</math>-min, <math>I</math>-min

|-

| ...an inserted ''intermediary chord'' on the 2nd beat || [[File:Audio2_tonal_space_I-min+I-augmin+IV-min.mp3|270px]]|| <math>I</math>-min, <math>I</math>-xen-augmin, <math>IV</math>-min, <math>IV</math>-min, <math>I</math>-min ...

|}

The proposed model of tonal space utilizes the uniform structure and simple mathematical description of ''[[Overtone scale|overtone scales]]'' as well as the closely related ''arithmetic frequency division of the octave'' ([[AFDO]]).

@@ Line 5: / Line 5: @@
 The concept is a step towards building an electronic keyboard instrument that allows the player to interactively map ''sequences of [[Rational interval|rational intervals]]'' to consecutive keys – in real time, even live on stage. Therefore, the player needs convenient and intuitive access to the mapping process, which becomes an integral part of the musical performance.
-With a prototypical instrument in place, the search for ''intermediary chords'' in tonal music begins. We can try to identify (and play) supplementary consonant chords that fit seamlessly into the gaps of familiar chord progressions.
+With a prototypical instrument in place, the search for ''intermediary chords'' in tonal music begins. We can identify (and play) supplementary consonant chords that fit seamlessly into the gaps of familiar chord progressions. Listen to the following two audio examples to get the idea...
+{| class="wikitable"
+! Listen to
+! Control
+! Info
+|-
+| ...a sequence of four <br>beatless minor chords || [[File:Audio1_tonal_space_I-min+IV-min.mp3|270px]]|| <math>I</math>-min, <math>I</math>-min, <math>IV</math>-min, <br><math>IV</math>-min, <math>I</math>-min
+|-
+| ...an inserted <br>''intermediary chord'' <br>on the 2nd beat || [[File:Audio2_tonal_space_I-min+I-augmin+IV-min.mp3|270px]]|| <math>I</math>-min, <math>I</math>-xen-augmin, <math>IV</math>-min, <br><math>IV</math>-min, <math>I</math>-min ...
+|}
 The proposed model of tonal space utilizes the uniform structure and simple mathematical description of ''[[Overtone scale|overtone scales]]'' as well as the closely related ''arithmetic frequency division of the octave'' ([[AFDO]]).