User talk:SAKryukov: Difference between revisions

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::::::: I understand. As to "most non-microtonalists", I also noticed the same thing — some naively thought of "quarter-tones" when you mention "microtonal", but don't see it as a valid argument for anything. One apparent reason of 24-EDO I can see is the melismas of Near/Middle East musical culture. I do appreciate this kind of music and enjoy it, but I think that for this culture, historically, 24-EDO is nothing but a very trivial adaptation of Western common-practice 12-EDO (division semitones into quarter-tones), and maybe more advanced tonal systems could better render the traditional intonation. As to your arguments of 11/8 and 16/11, perhaps I need to listen to "Folly of a Drunk", try to understand the function, and do some calculations. You see, when I said "Do you think I miss something?", I really meant I could miss something. When I started to discover and evaluate different microtonal systems, I mostly work by comparison with "just intonation" in a more narrow sense of this word, [https://en.wikipedia.org/wiki/Just_intonation precisely this one], and later found the examples of interval relationships not found in this particular system. But this goes too deep in the nesting of the present document. Perhaps I'll add another header at the bottom, write a bit on what I think, and mention this on this line, in case you may want to comment...

:::::::: For the record, I can already tell you that 11/8 has a function akin to a cross between that of 4/3 and that of 45/32, while 16/11 has a function akin to a cross between that of 64/45 and that of 3/2. Furthermore, both 11/8 and 16/11 are pretty important in modulating to keys that are not in the same series of fifths, and pitches related to the original tonic by these intervals are prime destinations for such modulations. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:00, 25 November 2020 (UTC)

:::::::: For the record, I can already tell you that 11/8 has a function akin to a cross between that of 4/3 and that of 45/32, while 16/11 has a function akin to a cross between that of 64/45 and that of 3/2. Furthermore, both 11/8 and 16/11 are pretty important in modulating to keys that are not in the same series of fifths, and pitches related to the original tonic by these intervals are prime destinations for such modulations. You can expect to see more examples such exploitation of 11/8 and 16/11 from me in my other works- yes, even in my 159edo-based works. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:00, 25 November 2020 (UTC)

:::::: For the record, if you're interested in advancing your research on Just Intonation, you might want to check out what I'm doing for [[Alpharabian tuning]]. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 21:45, 24 November 2020 (UTC)

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 ::::::: I understand. As to "most non-microtonalists", I also noticed the same thing &mdash; some naively thought of "quarter-tones" when you mention "microtonal", but don't see it as a valid argument for anything. One apparent reason of 24-EDO I can see is the melismas of Near/Middle East musical culture. I do appreciate this kind of music and enjoy it, but I think that for this culture, historically, 24-EDO is nothing but a very trivial adaptation of Western common-practice 12-EDO (division semitones into quarter-tones), and maybe more advanced tonal systems could better render the traditional intonation. As to your arguments of 11/8 and 16/11, perhaps I need to listen to "Folly of a Drunk", try to understand the function, and do some calculations. You see, when I said "Do you think I miss something?", I really meant I could miss something. When I started to discover and evaluate different microtonal systems, I mostly work by comparison with "just intonation" in a more narrow sense of this word, [https://en.wikipedia.org/wiki/Just_intonation precisely this one], and later found the examples of interval relationships not found in this particular system. But this goes too deep in the nesting of the present document. Perhaps I'll add another header at the bottom, write a bit on what I think, and mention this on this line, in case you may want to comment...
-:::::::: For the record, I can already tell you that 11/8 has a function akin to a cross between that of 4/3 and that of 45/32, while 16/11 has a function akin to a cross between that of 64/45 and that of 3/2.  Furthermore, both 11/8 and 16/11 are pretty important in modulating to keys that are not in the same series of fifths, and pitches related to the original tonic by these intervals are prime destinations for such modulations. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:00, 25 November 2020 (UTC)
+:::::::: For the record, I can already tell you that 11/8 has a function akin to a cross between that of 4/3 and that of 45/32, while 16/11 has a function akin to a cross between that of 64/45 and that of 3/2.  Furthermore, both 11/8 and 16/11 are pretty important in modulating to keys that are not in the same series of fifths, and pitches related to the original tonic by these intervals are prime destinations for such modulations.  You can expect to see more examples such exploitation of 11/8 and 16/11 from me in my other works- yes, even in my 159edo-based works. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:00, 25 November 2020 (UTC)
 :::::: For the record, if you're interested in advancing your research on Just Intonation, you might want to check out what I'm doing for [[Alpharabian tuning]]. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 21:45, 24 November 2020 (UTC)