User talk:Aura: Difference between revisions

Line 12:

:::::: One of the problems I have with notation that doesn't take these kinds of kleismatic differences into account is that without such distinctions, it's hard to determine which notes should have which tunings in order to accomplish a seamless modulation between keys on different circles of fifths, and I've honestly found that to be a significant problem with transcriptions of Jacob Collier's rendition of In the Bleak Midwinter in particular. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 18:33, 1 September 2020 (UTC)

::::::: Wow that was a long read! I'd just like to remind, with 159edo you can think of pitch categories and you don't have to pick fixed pitches for each category, unlike 12edo where you don't have much choice. For example, the 3rd note can vary from 5/4 to 9/7 in different occasions. AFAIK Jacob does his stuff mostly in terms of JI, so I'd think this way too in this case. As for where to draw the edo stopping line, my answer would be 6 cents for human audience (cuz there's an edo around that size that's become my latest favorite :)). [[User:FloraC|FloraC]] ([[User talk:FloraC|talk]]) 06:02, 2 September 2020 (UTC)

:::::::: Sorry about that! I had a lot to say, and I still have a lot to say. For the record, I define pitch ~~classes~~ as ~~being~~ a given pitch plus all multiples and divisions of that pitch by powers of two, so in 159edo, that's 159 different pitch classes available to work with. Also, I'd greatly prefer to keep the number of pitch classes limited for sections of my songs that remain in a particular key so that I don't have to do as much work in tuning them, not to mention that I've grown to like the idea of chords with different diatonic functions having different tunings- something that inevitably results from limiting your pitch class selection, for better or for worse. It is true that I'll change this up for purposes of modulation and accidentals, but still... --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 10:08, 2 September 2020 (UTC)

:::::::: Sorry about that! I had a lot to say, and I still have a lot to say. For the record, I define a pitch class as consisting of a given pitch plus all multiples and divisions of that pitch by powers of two, so in 159edo, that's 159 different pitch classes available to work with. Also, I'd greatly prefer to keep the number of pitch classes limited for sections of my songs that remain in a particular key so that I don't have to do as much work in tuning them, not to mention that I've grown to like the idea of chords with different diatonic functions having different tunings- something that inevitably results from limiting your pitch class selection, for better or for worse. It is true that I'll change this up for purposes of modulation and accidentals, but still... --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 10:08, 2 September 2020 (UTC)

@@ Line 12: / Line 12: @@
 :::::: One of the problems I have with notation that doesn't take these kinds of kleismatic differences into account is that without such distinctions, it's hard to determine which notes should have which tunings in order to accomplish a seamless modulation between keys on different circles of fifths, and I've honestly found that to be a significant problem with transcriptions of Jacob Collier's rendition of In the Bleak Midwinter in particular. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 18:33, 1 September 2020 (UTC)
 ::::::: Wow that was a long read! I'd just like to remind, with 159edo you can think of pitch categories and you don't have to pick fixed pitches for each category, unlike 12edo where you don't have much choice. For example, the 3rd note can vary from 5/4 to 9/7 in different occasions. AFAIK Jacob does his stuff mostly in terms of JI, so I'd think this way too in this case. As for where to draw the edo stopping line, my answer would be 6 cents for human audience (cuz there's an edo around that size that's become my latest favorite :)). [[User:FloraC|FloraC]] ([[User talk:FloraC|talk]]) 06:02, 2 September 2020 (UTC)
-:::::::: Sorry about that!  I had a lot to say, and I still have a lot to say.  For the record, I define pitch classes as being a given pitch plus all multiples and divisions of that pitch by powers of two, so in 159edo, that's 159 different pitch classes available to work with.  Also, I'd greatly prefer to keep the number of pitch classes limited for sections of my songs that remain in a particular key so that I don't have to do as much work in tuning them, not to mention that I've grown to like the idea of chords with different diatonic functions having different tunings- something that inevitably results from limiting your pitch class selection, for better or for worse.  It is true that I'll change this up for purposes of modulation and accidentals, but still... --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 10:08, 2 September 2020 (UTC)
+:::::::: Sorry about that!  I had a lot to say, and I still have a lot to say.  For the record, I define a pitch class as consisting of a given pitch plus all multiples and divisions of that pitch by powers of two, so in 159edo, that's 159 different pitch classes available to work with.  Also, I'd greatly prefer to keep the number of pitch classes limited for sections of my songs that remain in a particular key so that I don't have to do as much work in tuning them, not to mention that I've grown to like the idea of chords with different diatonic functions having different tunings- something that inevitably results from limiting your pitch class selection, for better or for worse.  It is true that I'll change this up for purposes of modulation and accidentals, but still... --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 10:08, 2 September 2020 (UTC)