User talk:Rperlner: Difference between revisions

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:: I know this may sound hard to believe, but in all my experimenting with different intervals, I've found that the wrong kind of interval involving small-number-ratios between the wrong two notes actually works against the formation of a sense of tonality. Conversely, a more tense-sounding interval in the right location- yes, even if the interval in question happens to be [[40/27]]- can actually strengthen your sense of tonality. Yes, intervals with small-number-ratios are vital to establishing tonality, but because of their power, they have to be well-placed within the tonal system, or otherwise the sense of tonality shifts when you don't want it to. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 04:50, 13 December 2020 (UTC)

== Counterpoint in Microtonal Contexts ==

I was just doing some research on counterpoint, and it seems we need to talk to [[Wikipedia:Guerino Mazzola]] to try and find out what he knows about counterpoint in the microtonal realm. We should also bring up our findings on the wolf fifth to him and see what he thinks- especially the bit about the functions of the wolf fifth that we've found. I'm particularly curious to hear what he has to say about the idea that the wolf fifth with its distinct function and subtle tension as well as the options for follow up that we've found. For example, the idea of a 1/1-32/27-40/27 minor chord on the sixth scale degree of C major (root related to the Tonic by 27/26) being followed up by either G-Dominant-7 (1/1-5/4-3/2-16/9) or B-Diminished (1/1-6/5-32/27) for an increase in tension, or alternatively, F-Major (1/1-81/64-3/2) or D-Minor (1/1-32/27-3/2) for a decrease in tension. While we're at it, we should talk about Treble-Down Tonality and the effects that has on things like counterpoint. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 03:06, 6 January 2021 (UTC)

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 :: I know this may sound hard to believe, but in all my experimenting with different intervals, I've found that the wrong kind of interval involving small-number-ratios between the wrong two notes actually works against the formation of a sense of tonality.  Conversely, a more tense-sounding interval in the right location- yes, even if the interval in question happens to be [[40/27]]- can actually strengthen your sense of tonality.  Yes, intervals with small-number-ratios are vital to establishing tonality, but because of their power, they have to be well-placed within the tonal system, or otherwise the sense of tonality shifts when you don't want it to. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 04:50, 13 December 2020 (UTC)
+== Counterpoint in Microtonal Contexts ==
+I was just doing some research on counterpoint, and it seems we need to talk to [[Wikipedia:Guerino Mazzola]] to try and find out what he knows about counterpoint in the microtonal realm.  We should also bring up our findings on the wolf fifth to him and see what he thinks- especially the bit about the functions of the wolf fifth that we've found.  I'm particularly curious to hear what he has to say about the idea that the wolf fifth with its distinct function and subtle tension as well as the options for follow up that we've found.  For example, the idea of a 1/1-32/27-40/27 minor chord on the sixth scale degree of C major (root related to the Tonic by 27/26) being followed up by either G-Dominant-7 (1/1-5/4-3/2-16/9) or B-Diminished (1/1-6/5-32/27) for an increase in tension, or alternatively, F-Major (1/1-81/64-3/2) or D-Minor (1/1-32/27-3/2) for a decrease in tension.  While we're at it, we should talk about Treble-Down Tonality and the effects that has on things like counterpoint. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 03:06, 6 January 2021 (UTC)