SAKryukov
Joined 23 November 2020
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::::::: It may sound trivial, but different interval sets for different modes resembles me my own idea on the microtonal instruments, before I started to work with EDOs. I imagined that the prospective instrument should have some control shifting from mode to mode on the fly. By this change, I meant that the keys should change their frequencies, but always get different rational-number (harmonic) intervals. (Of course, the idea is also limiting: for example, it is not suitable for the "atonal" music and similar less "classical" approaches) Now I'm close to final part of the EDO work, plan to make another release and started to dig into purely rational intervals, similar to your work. I'll try to analyze your scales. As I already mentioned, I need a tool to freely and quickly play with various structures ("play" in both senses of the word: quickly modify and visualize and play sounds), only then I can understand things. Anyway, thank you for the interesting information. | ::::::: It may sound trivial, but different interval sets for different modes resembles me my own idea on the microtonal instruments, before I started to work with EDOs. I imagined that the prospective instrument should have some control shifting from mode to mode on the fly. By this change, I meant that the keys should change their frequencies, but always get different rational-number (harmonic) intervals. (Of course, the idea is also limiting: for example, it is not suitable for the "atonal" music and similar less "classical" approaches) Now I'm close to final part of the EDO work, plan to make another release and started to dig into purely rational intervals, similar to your work. I'll try to analyze your scales. As I already mentioned, I need a tool to freely and quickly play with various structures ("play" in both senses of the word: quickly modify and visualize and play sounds), only then I can understand things. Anyway, thank you for the interesting information. | ||
::::::: As to one of my microtonal instruments, one interesting property is that the change of EDOs is "locally conservative" to the fingering, can you see what I mean? In certain sense, it makes the change-tuning-on-the-fly approach not necessary, but I'm still not giving it up... | ::::::: As to one of my microtonal instruments, one interesting property is that the change of EDOs is "locally conservative" to the fingering, can you see what I mean? In certain sense, it makes the change-tuning-on-the-fly approach not necessary, but I'm still not giving it up... | ||
:::::::: Even I think that the change-tuning-on-the-fly approach is still important- for both large EDOs like 159edo and for just systems. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 07:11, 25 November 2020 (UTC) | |||
::::::: Nice reference material on diatonic scales! Interestingly how EDO simplify things: for any 7-element diatonic system rendered as any EDO, it would be enough to describe only one mode, and then say: all other modes are derived by starting from the next element and then cycling through the remaining 6 sequential elements, and then shift by one until you get all 7 modern "natural" diatonic modes. It's remarkable that many musicians don't capture this simple idea from a school where they are taught each natural mode separately. | ::::::: Nice reference material on diatonic scales! Interestingly how EDO simplify things: for any 7-element diatonic system rendered as any EDO, it would be enough to describe only one mode, and then say: all other modes are derived by starting from the next element and then cycling through the remaining 6 sequential elements, and then shift by one until you get all 7 modern "natural" diatonic modes. It's remarkable that many musicians don't capture this simple idea from a school where they are taught each natural mode separately. | ||