BudjarnLambeth
Joined 22 July 2022
m →(To-do) |
|||
| Line 59: | Line 59: | ||
Also, I did '''not''' ask the AI to scrape the wiki, I used my own local copies of my pages from my computer to ask the AI about. | Also, I did '''not''' ask the AI to scrape the wiki, I used my own local copies of my pages from my computer to ask the AI about. | ||
==== [[User:BudjarnLambeth/Structural beating|Structural beating]] ==== | |||
Lambeth hypothesized this property for equal-step tunings where the '''[[period]]''' of the scale '''differs''' from the interval of '''psychoacoustic [[equivalence]]''' (usually the octave, 2/1). | Lambeth hypothesized this property for equal-step tunings where the '''[[period]]''' of the scale '''differs''' from the interval of '''psychoacoustic [[equivalence]]''' (usually the octave, 2/1). | ||
| Line 80: | Line 66: | ||
* '''Examples:''' Equal divisions of sevenths (e.g., ed7/4) or ninths (ed16/9) if the equivalence is the octave. | * '''Examples:''' Equal divisions of sevenths (e.g., ed7/4) or ninths (ed16/9) if the equivalence is the octave. | ||
==== [[User:BudjarnLambeth/Polytriadic|Polytriadicism]] ==== | |||
This concept involves tuning an ensemble (of 2 or more instruments/groups) so that each is tuned to a different '''triad''' or subset of a larger overarching scale. | This concept involves tuning an ensemble (of 2 or more instruments/groups) so that each is tuned to a different '''triad''' or subset of a larger overarching scale. | ||
| Line 87: | Line 73: | ||
* '''Example:''' '''[[Shoal17|Shoal[17]]]''', a 17-tone MOS scale in the Shoal temperament (a 2.3.13.23 subgroup detemper of 17edo), is cited as a prime candidate for this approach. | * '''Example:''' '''[[Shoal17|Shoal[17]]]''', a 17-tone MOS scale in the Shoal temperament (a 2.3.13.23 subgroup detemper of 17edo), is cited as a prime candidate for this approach. | ||
==== [[User:BudjarnLambeth/Equalizer subgroup|Equalizer subgroups]] ==== | |||
A just intonation subgroup designed to balance specific types of harmonics to achieve a specific aesthetic. | A just intonation subgroup designed to balance specific types of harmonics to achieve a specific aesthetic. | ||
| Line 97: | Line 83: | ||
* '''Examples:''' Subgroups like (2.3.5.13.17.19) used in Lambeth's Fifigeist temperament. | * '''Examples:''' Subgroups like (2.3.5.13.17.19) used in Lambeth's Fifigeist temperament. | ||
==== [[User:BudjarnLambeth/Substitute harmonic|Substitute harmonics]] ==== | |||
This theory involves replacing a simple, lower harmonic with a complex, higher harmonic that closely approximates it, thereby "fudging" the tuning into a different subgroup. | This theory involves replacing a simple, lower harmonic with a complex, higher harmonic that closely approximates it, thereby "fudging" the tuning into a different subgroup. | ||
* '''Sharp Substitutes:''' Replacing a harmonic with a slightly sharper higher harmonic. Lambeth names these temperaments after weapons or with "com"-ending names (e.g., '''Daggerminished''', '''Pajaraxe''', '''Dotcom''', '''Sitcom''', '''Romcom'''). | * '''Sharp Substitutes:''' Replacing a harmonic with a slightly sharper higher harmonic. Lambeth names these temperaments after weapons or with "com"-ending names (e.g., '''Daggerminished''', '''Pajaraxe''', '''Dotcom''', '''Sitcom''', '''Romcom'''). | ||
* '''Flat Substitutes:''' Replacing with a flatter harmonic. Naming convention involves flat regions (e.g., '''Sahara'''). | * '''Flat Substitutes:''' Replacing with a flatter harmonic. Naming convention involves flat regions (e.g., '''Sahara'''). | ||
==== [[User:BudjarnLambeth/Quasipelog theory|Quasipelog theory]] ==== | |||
This is a framework for approaching '''[[16edo]]''' (and other EDOs supporting the '''2.3.5.11 [[mavila]] temperament''', like {{EDOs|EDOS 23, 30, 37, and 39}}). It is inspired by Indonesian [[Gamelan]] theory, the [[Armodue]] school, and [[Erv Wilson]]'s [[MOS]] scales. | |||
* '''Concept:''' It focuses on specific scales that mimic the feel of Pelog scales but within a 16-tone equal temperament context. | |||
* '''Scales:''' The theory defines four essential scales derived from Mavila MOS modes: | |||
** '''Quasipelog Minor:''' Mode ''ssLsL'' of mavila[5]. | |||
** '''Quasipelog Major:''' Mode ''LssLs'' of mavila[5]. | |||
** '''Quasipelog Heptatonic:''' Mode ''ssLssLs'' of mavila[7]. | |||
** '''Quasipelog Chromatic:''' A mavila[16] MOS scale (7 fifths up, 8 down). | |||
* '''Timbre:''' A key part of the theory is the avoidance of harmonic timbres. Lambeth recommends "inharmonic" sounds such as metallophones, bells, or "thin/reedy" waveforms (like sine or woodwinds) to complement the tuning. | |||
==== Scalesmithing ==== | ==== Scalesmithing ==== | ||