Tonality diamond: Difference between revisions

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Harry Partch is the person most associated with the tonality diamond, and claimed to have invented it. However, it is likely that he plagarized the idea from Meyer.<ref>Forster, Cris (2015). ''[https://web.archive.org/web/20221207160002/https://www.chrysalis-foundation.org/the-partch-hoax-doctrines/ The Partch Hoax Doctrines]''. Self-published.</ref> Regardless, his extending of the concept to the 11-odd-limit (as well as his other extensions and uses of it) was an extremely important and foundational moment in the history of xenharmonic music.

[[Erv Wilson]] in particular was inspired by Partch's use of the tonality diamond and it's extended form. He developed a number of "diamonds" himself,<ref>Wilson, Erv. (1965-1970) [https://anaphoria.com/diamond.pdf ''Letters on Diamond Lattices''] (PDF) Self-published.</ref> as well as other concepts inspired by Partch's extended tonality diamond such as [[constant structure]].<ref>Wilson, Erv. (1964-2002) [https://www.anaphoria.com/Partchpapers.pdf ''The Partch Papers''] (collection of documents on Harry Partch's 11-limit diamond and its extensions, PDF). Self-published.</ref> A related idea of Wilson's is the [[Cross-set scale|cross-set]], of which the tonality diamond is a special case.

[[Erv Wilson]] in particular was inspired by Partch's use of the tonality diamond and it's extended form. He developed a number of "diamonds" himself,<ref>Wilson, Erv. (1965-1970) [https://anaphoria.com/diamond.pdf ''Letters on Diamond Lattices''] (PDF) Self-published.</ref> as well as other concepts inspired by Partch's use of the extended tonality diamond such as [[constant structure]].<ref>Wilson, Erv. (1964-2002) [https://www.anaphoria.com/Partchpapers.pdf ''The Partch Papers''] (collection of documents on Harry Partch's 11-limit diamond and its extensions, PDF). Self-published.</ref> A related idea of Wilson's is the [[Cross-set scale|cross-set]], of which the tonality diamond is a special case.

The first novel xenharmonic temperament—[[George Secor|George Secor's]] later-named [[Miracle]] temperament—was made to approximate Partch's 11-limit diamond.<ref>Secor, George (1975). [https://www.anaphoria.com/SecorMiracle.pdf ''A New Look at the Partch Monophonic Fabric.''] Xenharmonicon. Vol. 3</ref><ref>Secor, George. (2006) [https://www.anaphoria.com/SecorMiracle.pdf ''The Miracle Temperament and Decimal Keyboard'']. Xenharmonikon. Vol. 18. 2006. pp. 5–15</ref>[[File:Diamond_marimba_layout.png|thumb|Layout of the Diamond Marimba. Ratios are shown unreduced to highlight the structure. [https://sintel.website/posts/diamond_marimba.html Click here to play the Diamond Marimba on your browser.]]]

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 Harry Partch is the person most associated with the tonality diamond, and claimed to have invented it. However, it is likely that he plagarized the idea from Meyer.<ref>Forster, Cris (2015). ''[https://web.archive.org/web/20221207160002/https://www.chrysalis-foundation.org/the-partch-hoax-doctrines/ The Partch Hoax Doctrines]''. Self-published.</ref> Regardless, his extending of the concept to the 11-odd-limit (as well as his other extensions and uses of it) was an extremely important and foundational moment in the history of xenharmonic music.
-[[Erv Wilson]] in particular was inspired by Partch's use of the tonality diamond and it's extended form. He developed a number of "diamonds" himself,<ref>Wilson, Erv. (1965-1970) [https://anaphoria.com/diamond.pdf ''Letters on Diamond Lattices''] (PDF) Self-published.</ref> as well as other concepts inspired by Partch's extended tonality diamond such as [[constant structure]].<ref>Wilson, Erv. (1964-2002) [https://www.anaphoria.com/Partchpapers.pdf ''The Partch Papers''] (collection of documents on Harry Partch's 11-limit diamond and its extensions, PDF). Self-published.</ref> A related idea of Wilson's is the [[Cross-set scale|cross-set]], of which the tonality diamond is a special case.
+[[Erv Wilson]] in particular was inspired by Partch's use of the tonality diamond and it's extended form. He developed a number of "diamonds" himself,<ref>Wilson, Erv. (1965-1970) [https://anaphoria.com/diamond.pdf ''Letters on Diamond Lattices''] (PDF) Self-published.</ref> as well as other concepts inspired by Partch's use of the extended tonality diamond such as [[constant structure]].<ref>Wilson, Erv. (1964-2002) [https://www.anaphoria.com/Partchpapers.pdf ''The Partch Papers''] (collection of documents on Harry Partch's 11-limit diamond and its extensions, PDF). Self-published.</ref> A related idea of Wilson's is the [[Cross-set scale|cross-set]], of which the tonality diamond is a special case.
 The first novel xenharmonic temperament—[[George Secor|George Secor's]] later-named [[Miracle]] temperament—was made to approximate Partch's 11-limit diamond.<ref>Secor, George (1975). [https://www.anaphoria.com/SecorMiracle.pdf ''A New Look at the Partch Monophonic Fabric.''] Xenharmonicon. Vol. 3</ref><ref>Secor, George. (2006) [https://www.anaphoria.com/SecorMiracle.pdf ''The Miracle Temperament and Decimal Keyboard'']. Xenharmonikon. Vol. 18. 2006. pp. 5–15</ref>[[File:Diamond_marimba_layout.png|thumb|Layout of the Diamond Marimba. Ratios are shown unreduced to highlight the structure. [https://sintel.website/posts/diamond_marimba.html Click here to play the Diamond Marimba on your browser.]]]