Primer for 19edo: Difference between revisions
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[[19edo]] can be an easy tuning for those with a little music theory background, but no xenharmonic experience. Standard notation can be used (just be vigilant with spelling and watch enharmonic equivalents), and there are only 7 more notes than 12edo (making it the edo with the fewest notes more than 12 where standard notation can be used without new accidentals). | [[19edo]] can be an easy tuning for those with a little music theory background, but no xenharmonic experience. Standard notation can be used (just be vigilant with spelling and watch enharmonic equivalents), and there are only 7 more notes than 12edo (making it the edo with the fewest notes more than 12 where standard notation can be used without new accidentals). | ||
Music in what is essentially 19edo (1 | Music in what is essentially 19edo ({{frac|1|3}}-[[81/80|comma]] [[meantone]]) dates back to the 16th century, contemporary with the initial proposals for [[12edo]]. Major and minor thirds and sixths in 19edo are more blended and consonant than in 12edo, due to being closer to common just intervals, and the perfect fourth and fifth are only slightly less clear than 12edo. | ||
Longer scale fretted instruments like guitar and bass guitar have fret placements that don't require major modification of playing techniques, and isometric keyboard instruments can represent this tuning ergonomically with three rows of keys or buttons. Due to the close relationship with other classical temperaments, some wind instruments can be played with alternative fingerings to approximate 19edo. | Longer scale fretted instruments like guitar and bass guitar have fret placements that don't require major modification of playing techniques, and isometric keyboard instruments can represent this tuning ergonomically with three rows of keys or buttons. Due to the close relationship with other classical temperaments, some wind instruments can be played with alternative fingerings to approximate 19edo. | ||
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{| class="wikitable" | {| class="wikitable" | ||
|+A | |+ style="font-size: 105%;" | A basic look at letter notation in 19edo | ||
|- | |||
! Scale degree | ! Scale degree | ||
! Interval | ! Interval | ||
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| Gx | | Gx | ||
|} | |} | ||
<nowiki>* | <nowiki />* Some cultures use letter notation, but there is a common variation to replace Bb from the table with B and then replace B from the table with H. | ||
Chords would follow the same spelling as with standard 12edo notation, just be careful with spelling. For example, Bb chord would be spelled Bb D F, and A# chord would be A# Cx E#; but the two are different chords, one degree apart from each other. | Chords would follow the same spelling as with standard 12edo notation, just be careful with spelling. For example, Bb chord would be spelled Bb D F, and A# chord would be A# Cx E#; but the two are different chords, one degree apart from each other. | ||
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=== Solfege === | === Solfege === | ||
There are a lot of variants of solfege, depending on culture and tradition. Some traditions use moveable "do", and others use fixed "do". Typically, moveable "do" systems employ varying vowel sounds to note accidentals, whereas fixed "do" systems usually use sharp and flat accidentals as letter notation does. One proposed modified solfege system is in the table below. See also [[List of uniform solfeges for EDOs# | There are a lot of variants of solfege, depending on culture and tradition. Some traditions use moveable "do", and others use fixed "do". Typically, moveable "do" systems employ varying vowel sounds to note accidentals, whereas fixed "do" systems usually use sharp and flat accidentals as letter notation does. One proposed modified solfege system is in the table below. See also [[List of uniform solfeges for EDOs#19edo_.283_vowels.29|List of uniform solfeges for EDOs—19edo (3 vowels)]]. | ||
{| class="wikitable" | {| class="wikitable" | ||
|- | |||
! Scale degree | ! Scale degree | ||
! Interval | ! Interval | ||
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=== Roman numeral notation === | === Roman numeral notation === | ||
Just how the staff and letter names of notes from 12edo can carry over into 19edo with a simple shift in mindset, roman numeral chord notation can be used in pretty much the same way it was used in 12edo. Only the relationships between enharmonic equivalent chords are changed. | Just how the staff and letter names of notes from 12edo can carry over into 19edo with a simple shift in mindset, roman numeral chord notation can be used in pretty much the same way it was used in 12edo. Only the relationships between enharmonic equivalent chords are changed. | ||
Again, there are sometimes, confusingly, other notation conventions. For example, in common practice, the chords in the natural minor scale are i - ii° - bIII - iv - v - bVI - bVII, but since the minor scale is sometimes assumed, some people use the notation "i - ii° - III - iv - v - VI - VII" without the accidentals. This is not expressly incorrect, but many consider it confusing. In the case of xenharmonic music, it is recommended to use the accidental marks whenever possible to avoid the confusion introduced by notation that doesn't specify them, compounded by the complication of having more accidentals for which to account. | Again, there are sometimes, confusingly, other notation conventions. For example, in common practice, the chords in the natural minor scale are i - ii° - bIII - iv - v - bVI - bVII, but since the minor scale is sometimes assumed, some people use the notation "i - ii° - III - iv - v - VI - VII" without the accidentals. This is not expressly incorrect, but many consider it confusing. In the case of xenharmonic music, it is recommended to use the accidental marks whenever possible to avoid the confusion introduced by notation that doesn't specify them, compounded by the complication of having more accidentals for which to account. | ||
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In 12edo, there are some key changes that may be subtle, while others can be a little jarring to the listener. | In 12edo, there are some key changes that may be subtle, while others can be a little jarring to the listener. | ||
One method of key change that is subtle is the common chord or pivot chord method. | One method of key change that is subtle is the common chord or pivot chord method. This usually happens on a ii or IV chord, but any chord in two overlapping keys can be used. | ||
For example: | For example: | ||
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I - IV - V - I - vi - II - II7 - V | I - IV - V - I - vi - II - II7 - V | ||
It seems like a weird progression, based on numerals, but, this is an example in which the key is pivoting. | It seems like a weird progression, based on numerals, but, this is an example in which the key is pivoting. It's really I - IV - V - I, and then I=IV with the dominant becoming the new tonic, so the second half of the progression is ii - V - V7 I, one of the most common progressions. | ||
Another example from Schubert's op.9 D365 | Another example from Schubert's op.9 D365 | ||
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More complex harmonies are possible in 19edo than are available in 12edo, by the nature of the extended option palette of intervals, but most are quite difficult for a beginner to use. It would be recommended to start out looking at 19edo as an alternative version of 12edo, at first, and then add some experimentation as the composer begins to get comfortable with the nuances of the tuning system. Although any rule of thumb in music, generally speaking, is just begging to be dashed apart by a good counter-example. | More complex harmonies are possible in 19edo than are available in 12edo, by the nature of the extended option palette of intervals, but most are quite difficult for a beginner to use. It would be recommended to start out looking at 19edo as an alternative version of 12edo, at first, and then add some experimentation as the composer begins to get comfortable with the nuances of the tuning system. Although any rule of thumb in music, generally speaking, is just begging to be dashed apart by a good counter-example. | ||
== Serialism == | == Serialism == | ||
One of the more advanced compositional tools in 12edo is "12-tone serialism." In order to avoid an obvious tonal center in a piece, each of the twelve tones are used once per series. | One of the more advanced compositional tools in 12edo is "12-tone serialism." In order to avoid an obvious tonal center in a piece, each of the twelve tones are used once per series. A phrase could consist of one or more series of twelve notes. These notes do not need to appear in the same octave or adjacent octaves, but each note (i.e., Ab A A# B C C#, etc) is to only appear once per series. | ||
This tool can be used in any tuning system with a set number of discrete tones per defined interval. For example, in Bohlen-Pierce, there are 13 tones per perfect twelfth. The technique can still be used. In a continuous tuning system, the technique cannot be used. But in 19edo, the technique can be used similarly to how it is used in 12edo. | This tool can be used in any tuning system with a set number of discrete tones per defined interval. For example, in Bohlen-Pierce, there are 13 tones per perfect twelfth. The technique can still be used. In a continuous tuning system, the technique cannot be used. But in 19edo, the technique can be used similarly to how it is used in 12edo. | ||