User:CritDeathX/Sam's Idea Of Consonance: Difference between revisions

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Okay, so a while back, I had developed this method of finding how consonant a chord was. The basic idea was to find how many combination/difference tones lined up with a chord~~. I may add something to have it work with [[harmonic series]] scales as well~~.

Okay, so a while back, I had developed this method of finding how consonant a chord was. The basic idea was to find how many combination/difference tones lined up with a chord.

In order to find what tones line up with the chord, the resulting tone must either be

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Thus, by these rules, it cannot line up if it results in any other harmonic/interval.

== Demonstration ==

I'll show an example of what I mean using 4:5:6.

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We then compare it to the 3-note reference point, 4:5:6. 4:5:6's tones line up 4 times, and 9:11:13's tones line up 4 times as well. By this conclusion, 9:11:13 should be as consonant as 4:5:6. (''its also proportional like 4:5:6, so take that as you will'')

~~Like~~ I ~~said at the beginning~~, I'~~ll see if I can make it also work with scales built~~ from ~~the harmonic series~~.

== Harmonal Limits ==

This is a term that I'm coining to describe certain patterns within a series of chords or a scale(s) based off of their combination/difference tones. For example, here's an example progression from Erv Wilson's letter to McLaren.

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-Okay, so a while back, I had developed this method of finding how consonant a chord was. The basic idea was to find how many combination/difference tones lined up with a chord. I may add something to have it work with [[harmonic series]] scales as well.
+Okay, so a while back, I had developed this method of finding how consonant a chord was. The basic idea was to find how many combination/difference tones lined up with a chord.
 In order to find what tones line up with the chord, the resulting tone must either be
@@ Line 7: / Line 7: @@
 Thus, by these rules, it cannot line up if it results in any other harmonic/interval.
+== Demonstration ==
 I'll show an example of what I mean using 4:5:6.
@@ Line 71: / Line 72: @@
 We then compare it to the 3-note reference point, 4:5:6. 4:5:6's tones line up 4 times, and 9:11:13's tones line up 4 times as well. By this conclusion, 9:11:13 should be as consonant as 4:5:6. (''its also proportional like 4:5:6, so take that as you will'')
-Like I said at the beginning, I'll see if I can make it also work with scales built from the harmonic series.
+== Harmonal Limits ==
+This is a term that I'm coining to describe certain patterns within a series of chords or a scale(s) based off of their combination/difference tones. For example, here's an example progression from Erv Wilson's letter to McLaren.