User:DesertFreeze

Hi, I'm a young microtonalist/musician and hope to have some influence on this platform.

I have deep knowledge of 31edo but not much else :P, I'm working to expand my knowledge as much as possible so I can improve this website, microtonality is something I really care about and believe in for the future.

I find it strange that this website has such little otonal chord documentation (e.g., why is there no page for 18:22:27, the neutral triad?).

19-limit intervals should be called novemdecimal intervals, not "undevicesimal", as first of all, its impossible to spell right on the first try, and second of all, it sounds like "undecimal". Idk, maybe I'll try to convince people this is better, we'll see. :P

Random theory jargain

Keep in mind that a lot of my thinking doesn't really tend to actually apply to music that much, I just like exploring new concepts, so how much any of this may apply to real music may be trivial. However, it is quite important to psychoacoustics.

Odd harmonic chord theory is a random name I came up with about explaining the structure of otonal chords without all the math. It's probably been talked about before, but I'm too lazy to scour the wiki, discord, and rest of the web for a name for that. I feel like we have become so focused on tempered chords it has become less common to focus on the fundamentals of harmony, at least consonant harmony, which lie in chords of the harmonic series. I believe that we should start at just intonation and then expand from that. Chords that can be derived from otonal chords of the harmonic series, specifically, those that contain only odd harmonics, will directly tell the complexity of the chord.

Every chord in just intonation derives its notes from a set of odd harmonics, in other words, we can strip any just intonation chord of all its added octaves (factors of 2), get rid of the denominators, and simplify to get a "raw" otonal chord. Take 1:3:5, for example. This is how we formulate the major chord, the most fundamental chord in all of music, and possibly, in the entire universe, due to its simplicity (besides the power chord, though that conveys little emotion, and is really only two notes when octave-stripped). Anyways, any chord that exists in just intonation can be converted to odd harmonics.

Also, I'm coining the term "otonal notation" for the naming of a ji chord based off its position and notes in the overtone series. This involves the use of colons to separate each note in the chord. A simple formula to convert any ji chord to otonal notation is by multiplying each ratio by the denominators and removing all common factors.

Here is a table I made that takes every possible combination of odd harmonics under 11 and turns them into their form as a tertially-based chord. Of course, we could go further than 11, to get tridecimal chords, septendecimal chords, etc. but the amount of chords available increases exponentially for every odd integer we add.

What I mean by tertially-based is that the intervals directly seen within the chord can be classified as a third, fifth, seventh, and so on. If x is odd, then any interval within the chord will follow the x-th formula. This is primarily based on cents and western conditioning, and the line between seconds, thirds, fourths, and so on may be ambiguous and "fuzzy". This mainly applies to interseptimal chords, which can be both a third and a fourth depending on the context. A 8/5 minor sixth could be perceived as an augmented fifth in some contexts, where the intervals within the chord fit into the category of a third.

Ok I'll do this later

random project I'm working on for this website (idk when i'll complete it)