CritDeathX

Revision as of 20:51, 12 September 2020 view source Aura (talk \| contribs) autopatrolled 5,920 edits No edit summary ← Older edit		Revision as of 21:04, 12 September 2020 view source Aura (talk \| contribs) autopatrolled 5,920 edits No edit summary Newer edit →
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	:::::::::::::: I can already tell that the linear tones from bass-up operations correspond to a strikingly different sort of operation for their treble-down counterparts. --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 20:50, 12 September 2020 (UTC)		:::::::::::::: I can already tell that the linear tones from bass-up operations correspond to a strikingly different sort of operation for their treble-down counterparts. --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 20:50, 12 September 2020 (UTC)

			:::::::::::::: Okay, I've tested out twelve-tempered versions chord on the piano, and it sounds every bit as consonant as the twelve-tempered version of the original 2:3:5:8 chord once all known relational factors between bass-up tonality and treble-down tonality are accounted for, and this is despite the rather obvious lack of linearity. Something is afoot here... we just need to find out what... --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 21:04, 12 September 2020 (UTC)