Technical Notes for Newbeams: Difference between revisions
Wikispaces>Andrew_Heathwaite **Imported revision 311613346 - Original comment: ** |
Wikispaces>Andrew_Heathwaite **Imported revision 311619734 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | 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 | : This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2012-03-16 01:33:42 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>311619734</tt>.<br> | ||
: The revision comment was: <tt></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> | 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== | ==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: | |||
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 slightly 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 not consciously thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit. 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! | |||
==Jellybear== | ==Jellybear== | ||
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<!-- ws:start:WikiTextHeadingRule:2:&lt;h2&gt; --><h2 id="toc1"><a name="x-Shorn Brown"></a><!-- ws:end:WikiTextHeadingRule:2 -->Shorn Brown</h2> | <!-- ws:start:WikiTextHeadingRule:2:&lt;h2&gt; --><h2 id="toc1"><a name="x-Shorn Brown"></a><!-- ws:end:WikiTextHeadingRule:2 -->Shorn Brown</h2> | ||
<br /> | <br /> | ||
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 &quot;tonal&quot; as Rats. It is the only &quot;pop song&quot; on the album.<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 /> | ||
<!-- ws:start:WikiTextLocalImageRule:45:&lt;img src=&quot;/file/view/shorn_brown_keyboard.png/311618904/shorn_brown_keyboard.png&quot; alt=&quot;&quot; title=&quot;&quot; /&gt; --><img src="/file/view/shorn_brown_keyboard.png/311618904/shorn_brown_keyboard.png" alt="shorn_brown_keyboard.png" title="shorn_brown_keyboard.png" /><!-- ws:end:WikiTextLocalImageRule:45 --><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 /> | |||
<br /> | |||
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 slightly 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 not consciously thinking about the generator chain at all as I composed the piece: I was simply developing a chord progression and melody bit by bit. 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!<br /> | |||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:4:&lt;h2&gt; --><h2 id="toc2"><a name="x-Jellybear"></a><!-- ws:end:WikiTextHeadingRule:4 -->Jellybear</h2> | <!-- ws:start:WikiTextHeadingRule:4:&lt;h2&gt; --><h2 id="toc2"><a name="x-Jellybear"></a><!-- ws:end:WikiTextHeadingRule:4 -->Jellybear</h2> | ||
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As I mentioned in the description for Elf Dine on Ho Ho, Pentaswing uses a meter I call 7x5 with extension 7x5x2. This means seven beats per measure, each beat divided into five subdivisions (and, in the case of the extension, each subdivision divided further into two smaller subdivisions). The basic idea of the pentaswing rhythm is to generalize the &quot;swing&quot; or &quot;shuffle&quot; rhythm of jazz and other styles, which features each beat divided into a long first duration and a short second duration, usually with a 2:1 ratio between the durations, allowing for a triplet grid. If the triplet is further divided, it's divided in half. That gives us at most six subdivisions of a beat (3x2). So if we happened to have seven beats in a measure with a standard triplet swing, I'd call that meter 7x3x2 or 7x6. Compare this with 7x5, the basic &quot;pentaswing&quot; meter. In pentaswing, the &quot;swing&quot; grouping is 3+2, rather than 2+1 or equivalently 4+2. Pentaswing is slightly closer to even than standard swing, giving it a &quot;lazier&quot; or &quot;looser&quot; quality. The subdivisions are slower, too: 5 subdivisions in a beat instead of 6. The pentaswing cannot do an even triplet. Uneven triplets with 5 subdivisions are 2+2+1, 2+1+2, and 1+2+2. When the 5's are divided into 3's (5x2 -- decaswing, perhaps), we have more even triplets available: 3+3+4, 4+3+4, and 4+3+3. (Of course, standard triplet swing has the same problem approximating quintuplets. Uneven quintuplets with 6 subdivisions include 2+1+1+1+1, 1+2+1+1+1, 1+1+2+1+1, 1+1+1+2+1, and 1+1+1+1+2; none of those really sound like quintuplets. With twelve subdivisions, we can do better of course: 3+2+2+3+2, 2+2+3+2+3, 2+3+2+3+2, 3+2+3+2+2, and 2+3+2+2+3. These rhythms are exactly analogous to the modes of the black-key pentatonic scale in 12edo. In addition to being MOS rhythms, they are maximally-even and thus also Euclidean rhythms.) Pentaswing (the song) uses both 7x5 and 7x5x2 in different measures. The tuning is 23edo, obviously not all of it, but not a specific intentional subset, either, but something that emerged out of purely melodic and rhythmic considerations.<br /> | As I mentioned in the description for Elf Dine on Ho Ho, Pentaswing uses a meter I call 7x5 with extension 7x5x2. This means seven beats per measure, each beat divided into five subdivisions (and, in the case of the extension, each subdivision divided further into two smaller subdivisions). The basic idea of the pentaswing rhythm is to generalize the &quot;swing&quot; or &quot;shuffle&quot; rhythm of jazz and other styles, which features each beat divided into a long first duration and a short second duration, usually with a 2:1 ratio between the durations, allowing for a triplet grid. If the triplet is further divided, it's divided in half. That gives us at most six subdivisions of a beat (3x2). So if we happened to have seven beats in a measure with a standard triplet swing, I'd call that meter 7x3x2 or 7x6. Compare this with 7x5, the basic &quot;pentaswing&quot; meter. In pentaswing, the &quot;swing&quot; grouping is 3+2, rather than 2+1 or equivalently 4+2. Pentaswing is slightly closer to even than standard swing, giving it a &quot;lazier&quot; or &quot;looser&quot; quality. The subdivisions are slower, too: 5 subdivisions in a beat instead of 6. The pentaswing cannot do an even triplet. Uneven triplets with 5 subdivisions are 2+2+1, 2+1+2, and 1+2+2. When the 5's are divided into 3's (5x2 -- decaswing, perhaps), we have more even triplets available: 3+3+4, 4+3+4, and 4+3+3. (Of course, standard triplet swing has the same problem approximating quintuplets. Uneven quintuplets with 6 subdivisions include 2+1+1+1+1, 1+2+1+1+1, 1+1+2+1+1, 1+1+1+2+1, and 1+1+1+1+2; none of those really sound like quintuplets. With twelve subdivisions, we can do better of course: 3+2+2+3+2, 2+2+3+2+3, 2+3+2+3+2, 3+2+3+2+2, and 2+3+2+2+3. These rhythms are exactly analogous to the modes of the black-key pentatonic scale in 12edo. In addition to being MOS rhythms, they are maximally-even and thus also Euclidean rhythms.) Pentaswing (the song) uses both 7x5 and 7x5x2 in different measures. The tuning is 23edo, obviously not all of it, but not a specific intentional subset, either, but something that emerged out of purely melodic and rhythmic considerations.<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextLocalImageRule: | <!-- ws:start:WikiTextLocalImageRule:46:&lt;img src=&quot;/file/view/pentaswing.png/311612002/pentaswing.png&quot; alt=&quot;&quot; title=&quot;&quot; /&gt; --><img src="/file/view/pentaswing.png/311612002/pentaswing.png" alt="pentaswing.png" title="pentaswing.png" /><!-- ws:end:WikiTextLocalImageRule:46 --><br /> | ||
I created the diagram above to compare triplet swing and pentaswing. I didn't use it as a reference for the album, but it might be useful in future projects that use these types of rhythms. I think the pentaswing rhythm is worth returning to.<br /> | I created the diagram above to compare triplet swing and pentaswing. I didn't use it as a reference for the album, but it might be useful in future projects that use these types of rhythms. I think the pentaswing rhythm is worth returning to.<br /> | ||
<br /> | <br /> | ||