Technical Notes for Newbeams: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>

This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>

: This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2012-03-16 01:37:53 UTC</tt>.<br>

: This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2012-03-16 01:40:05 UTC</tt>.<br>

: The original revision id was <tt>~~311620124~~</tt>.<br>

: The original revision id was <tt>311620304</tt>.<br>

: The revision comment was: <tt></tt><br>

The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>

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==Shorn Brown==

This piece takes a similar walk in 37edo through the keyboard in a mapping for [[Orgone]] temperament. I was playing with 37edo as a 2.5.7.9.11.13 system, that is, a 13-limit system with no perfect fifths. I hear this one going on a journey to harmonically distant places and then suddenly returning, and would consider it as "tonal" as Rats. It is the only "pop song" on the album.

This piece takes a similar walk in [[37edo]] through the keyboard in a mapping for [[Orgone]] temperament. I was playing with 37edo as a 2.5.7.9.11.13 system, that is, a 13-limit system with no perfect fifths. I hear this one going on a journey to harmonically distant places and then suddenly returning, and would consider it as "tonal" as Rats. It is the only "pop song" on the album.

[[image:shorn_brown_keyboard.png]]

In March, I relearned Shorn Brown to perform live, so I took an opportunity to figure out exactly what tones I happened to use. I was just curious. It turns out that the complete chain of orgone generators looks like:

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0 _ _ 3 _ 5 6 7 8 9 10 11 12 13 _ 15 16 17 18 19 20 21 22 23 24 _ _ 27 28 29 _ _ _ _ _ _ _

For a grand total of 24 tones out of 46 (not counting octaves). Although this is ~~more than half~~ the tones available in ~~46edo~~, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was hardly thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit, paying attention to the sorts of chords I was producing as I went. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy! No other interface could have generated this song.

For a grand total of 24 tones out of 37 (not counting octaves). Although this is most of the tones available in 37edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was hardly thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit, paying attention to the sorts of chords I was producing as I went. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy! No other interface could have generated this song.

==Jellybear==

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<h2 id="toc1"><a name="x-Shorn Brown"></a>Shorn Brown</h2>

<br />

This piece takes a similar walk in 37edo through the keyboard in a mapping for <a class="wiki_link" href="/Orgone">Orgone</a> temperament. I was playing with 37edo as a 2.5.7.9.11.13 system, that is, a 13-limit system with no perfect fifths. I hear this one going on a journey to harmonically distant places and then suddenly returning, and would consider it as &quot;tonal&quot; as Rats. It is the only &quot;pop song&quot; on the album.<br />

This piece takes a similar walk in <a class="wiki_link" href="/37edo">37edo</a> through the keyboard in a mapping for <a class="wiki_link" href="/Orgone">Orgone</a> temperament. I was playing with 37edo as a 2.5.7.9.11.13 system, that is, a 13-limit system with no perfect fifths. I hear this one going on a journey to harmonically distant places and then suddenly returning, and would consider it as &quot;tonal&quot; as Rats. It is the only &quot;pop song&quot; on the album.<br />

<img src="/file/view/shorn_brown_keyboard.png/311618904/shorn_brown_keyboard.png" alt="shorn_brown_keyboard.png" title="shorn_brown_keyboard.png" /><br />

In March, I relearned Shorn Brown to perform live, so I took an opportunity to figure out exactly what tones I happened to use. I was just curious. It turns out that the complete chain of orgone generators looks like:<br />

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0 _ _ 3 _ 5 6 7 8 9 10 11 12 13 _ 15 16 17 18 19 20 21 22 23 24 _ _ 27 28 29 _ _ _ _ _ _ _<br />

<br />

For a grand total of 24 tones out of 46 (not counting octaves). Although this is ~~more than half~~ the tones available in ~~46edo~~, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was hardly thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit, paying attention to the sorts of chords I was producing as I went. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy! No other interface could have generated this song.<br />

For a grand total of 24 tones out of 37 (not counting octaves). Although this is most of the tones available in 37edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was hardly thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit, paying attention to the sorts of chords I was producing as I went. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy! No other interface could have generated this song.<br />

<br />

<h2 id="toc2"><a name="x-Jellybear"></a>Jellybear</h2>

@@ Line 1: / Line 1: @@
 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2012-03-16 01:37:53 UTC</tt>.<br>
+: This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2012-03-16 01:40:05 UTC</tt>.<br>
-: The original revision id was <tt>311620124</tt>.<br>
+: The original revision id was <tt>311620304</tt>.<br>
 : The revision comment was: <tt></tt><br>
 The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
@@ Line 29: / Line 29: @@
 ==Shorn Brown==
-This piece takes a similar walk in 37edo through the keyboard in a mapping for [[Orgone]] temperament. I was playing with 37edo as a 2.5.7.9.11.13 system, that is, a 13-limit system with no perfect fifths. I hear this one going on a journey to harmonically distant places and then suddenly returning, and would consider it as "tonal" as Rats. It is the only "pop song" on the album.
+This piece takes a similar walk in [[37edo]] through the keyboard in a mapping for [[Orgone]] temperament. I was playing with 37edo as a 2.5.7.9.11.13 system, that is, a 13-limit system with no perfect fifths. I hear this one going on a journey to harmonically distant places and then suddenly returning, and would consider it as "tonal" as Rats. It is the only "pop song" on the album.
 [[image:shorn_brown_keyboard.png]]
 In March, I relearned Shorn Brown to perform live, so I took an opportunity to figure out exactly what tones I happened to use. I was just curious. It turns out that the complete chain of orgone generators looks like:
@@ Line 35: / Line 35: @@
 _ _ 3 _ 5 6 7 8 9 10 11 12 13 _ 15 16 17 18 19 20 21 22 23 24 _ _ 27 28 29 _ _ _ _ _ _ _
-For a grand total of 24 tones out of 46 (not counting octaves). Although this is more than half the tones available in 46edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was hardly thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit, paying attention to the sorts of chords I was producing as I went. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy! No other interface could have generated this song.
+For a grand total of 24 tones out of 37 (not counting octaves). Although this is most of the tones available in 37edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was hardly thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit, paying attention to the sorts of chords I was producing as I went. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy! No other interface could have generated this song.
 ==Jellybear==
@@ Line 144: / Line 144: @@
 &lt;!-- ws:start:WikiTextHeadingRule:2:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc1"&gt;&lt;a name="x-Shorn Brown"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:2 --&gt;Shorn Brown&lt;/h2&gt;
   &lt;br /&gt;
-This piece takes a similar walk in 37edo through the keyboard in a mapping for &lt;a class="wiki_link" href="/Orgone"&gt;Orgone&lt;/a&gt; temperament. I was playing with 37edo as a 2.5.7.9.11.13 system, that is, a 13-limit system with no perfect fifths. I hear this one going on a journey to harmonically distant places and then suddenly returning, and would consider it as &amp;quot;tonal&amp;quot; as Rats. It is the only &amp;quot;pop song&amp;quot; on the album.&lt;br /&gt;
+This piece takes a similar walk in &lt;a class="wiki_link" href="/37edo"&gt;37edo&lt;/a&gt; through the keyboard in a mapping for &lt;a class="wiki_link" href="/Orgone"&gt;Orgone&lt;/a&gt; temperament. I was playing with 37edo as a 2.5.7.9.11.13 system, that is, a 13-limit system with no perfect fifths. I hear this one going on a journey to harmonically distant places and then suddenly returning, and would consider it as &amp;quot;tonal&amp;quot; as Rats. It is the only &amp;quot;pop song&amp;quot; on the album.&lt;br /&gt;
 &lt;!-- ws:start:WikiTextLocalImageRule:45:&amp;lt;img src=&amp;quot;/file/view/shorn_brown_keyboard.png/311618904/shorn_brown_keyboard.png&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; /&amp;gt; --&gt;&lt;img src="/file/view/shorn_brown_keyboard.png/311618904/shorn_brown_keyboard.png" alt="shorn_brown_keyboard.png" title="shorn_brown_keyboard.png" /&gt;&lt;!-- ws:end:WikiTextLocalImageRule:45 --&gt;&lt;br /&gt;
 In March, I relearned Shorn Brown to perform live, so I took an opportunity to figure out exactly what tones I happened to use. I was just curious. It turns out that the complete chain of orgone generators looks like:&lt;br /&gt;
@@ Line 150: / Line 150: @@
 _ _ 3 _ 5 6 7 8 9 10 11 12 13 _ 15 16 17 18 19 20 21 22 23 24 _ _ 27 28 29 _ _ _ _ _ _ _&lt;br /&gt;
 &lt;br /&gt;
-For a grand total of 24 tones out of 46 (not counting octaves). Although this is more than half the tones available in 46edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was hardly thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit, paying attention to the sorts of chords I was producing as I went. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy! No other interface could have generated this song.&lt;br /&gt;
+For a grand total of 24 tones out of 37 (not counting octaves). Although this is most of the tones available in 37edo, I think it makes sense to still call this orgone, as there are lots of contiguous tones in the generator chain and a whole chunk of the chain is not used at all (represented by the _'s at the end of the list above). I was hardly thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit, paying attention to the sorts of chords I was producing as I went. It was this particular keyboard and this particular mapping that made my intuitive approach to a complex temperament in a relatively large EDO not only possible but actually pretty easy! No other interface could have generated this song.&lt;br /&gt;
 &lt;br /&gt;
 &lt;!-- ws:start:WikiTextHeadingRule:4:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc2"&gt;&lt;a name="x-Jellybear"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:4 --&gt;Jellybear&lt;/h2&gt;