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

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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'')
+I should note that they may not ''sound'' consonant on first listen, but if you were to hear it for a long enough time, you'd notice how ''weirdly'' consonant they are. I think this might be a useful method for finding alien harmonies without sacrificing the idea of consonance entirely.
 == 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.
+This is a term that I'm coining to describe certain patterns or outliers within a series of chords or a scale(s) based off of their combination/difference tones.
+For example, here's [[:File:Erv Wilson's Fibonnaci Progression.png|an example progression using a Fibonnaci sequence from Erv Wilson's letter to McLaren]]. We can look at the tones of these chords and see whether we can notice anything interesting:
+{| class="wikitable"
+!1st chord
+!2
+!3
+!4
+!5
+!6
+!7
+!8
+|-
+|8
+|
+|9
+|8
+|8
+|8
+|8
+|10
+|}
+Although its hard to figure out how to represent harmonal limits, I think the best way to do it is to have ([lowest number of unique notes in a chord]-[highest]) on the denominator and have ([lowest linear tone]-[highest]) on the denominator. In this case, it would look like (8-10)/(3-4), which if we were to translate this into a proper number it would equal 2.