24edo: Difference between revisions
Wikispaces>cookiemeows **Imported revision 489524492 - Original comment: ** |
Wikispaces>cookiemeows **Imported revision 489524780 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:cookiemeows|cookiemeows]] and made on <tt>2014-02-14 10:18 | : This revision was by author [[User:cookiemeows|cookiemeows]] and made on <tt>2014-02-14 10:20:18 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>489524780</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
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For example, the neutral triad can have the neutral 7th added to it to make a full neutral tetrad: 0-7-14-21 William Lynch considers this chord to be the most beautiful tetrad in 24 Edo. In addition, the arto tetrad can have the arto 7th added to it but the chord tends to work better when a minor 7th is used in place of an arto seventh forming the arto tetrad: 0-5-14-20. The Tendo tetrad can also be made by attatching an arto seventh to tendo triad 0-9-14-19. Although the "Super-Tendo" chord can be made by attatching the tendo seventh to the chord, this chord is very dissonant, and therefore it is not considered a resolved sonority, although the sound of 0-9-14-23 is very cool in many context. | For example, the neutral triad can have the neutral 7th added to it to make a full neutral tetrad: 0-7-14-21 William Lynch considers this chord to be the most beautiful tetrad in 24 Edo. In addition, the arto tetrad can have the arto 7th added to it but the chord tends to work better when a minor 7th is used in place of an arto seventh forming the arto tetrad: 0-5-14-20. The Tendo tetrad can also be made by attatching an arto seventh to tendo triad 0-9-14-19. Although the "Super-Tendo" chord can be made by attatching the tendo seventh to the chord, this chord is very dissonant, and therefore it is not considered a resolved sonority, although the sound of 0-9-14-23 is very cool in many context. | ||
William Lynch considers these three tetrads to be a good selection for functional harmony in 24 Edo: | |||
[[image:Three chords.PNG]] | [[image:Three chords.PNG]] | ||
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Neutral 0-7-14-21 or 1, v3, 5, v7 | Neutral 0-7-14-21 or 1, v3, 5, v7 | ||
Arto 0-5-14-20 or 1, bv3, 5, b7 | Arto 0-5-14-20 or 1, bv3, 5, b7 | ||
Tendo 0-9-14-19 or 1, ^3, 5, bv7 | Tendo 0-9-14-19 or 1, ^3, 5, bv7 | ||
=Naming Chords in 24 Edo= | =Naming Chords in 24 Edo= | ||
Naming chords in 24 edo can be achieved by adding a few things to the already existing set of terms that are used to name 12 Edo chords. | Naming chords in 24 edo can be achieved by adding a few things to the already existing set of terms that are used to name 12 Edo chords. | ||
They are: | They are: | ||
Super + perfect interval such as "perfect fifth" means to raise it by a quarter tone. | Super + perfect interval such as "perfect fifth" means to raise it by a quarter tone. | ||
Sub + perfect interval means to lower a quarter tone. | Sub + perfect interval means to lower a quarter tone. | ||
Sharp is to raise by one half tone | Sharp is to raise by one half tone | ||
Flat is to raise by a half tone | Flat is to raise by a half tone | ||
Neutral, arto and Tendo refer triads OR also to the tetrad versions | Neutral, arto and Tendo refer triads OR also to the tetrad versions | ||
Neutral, Arto, or Tendo + interval name of 2nd, 3rd, 6th, or 7th is to alter respectively | Neutral, Arto, or Tendo + interval name of 2nd, 3rd, 6th, or 7th is to alter respectively | ||
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For example, the neutral triad can have the neutral 7th added to it to make a full neutral tetrad: 0-7-14-21 William Lynch considers this chord to be the most beautiful tetrad in 24 Edo. In addition, the arto tetrad can have the arto 7th added to it but the chord tends to work better when a minor 7th is used in place of an arto seventh forming the arto tetrad: 0-5-14-20. The Tendo tetrad can also be made by attatching an arto seventh to tendo triad 0-9-14-19. Although the &quot;Super-Tendo&quot; chord can be made by attatching the tendo seventh to the chord, this chord is very dissonant, and therefore it is not considered a resolved sonority, although the sound of 0-9-14-23 is very cool in many context.<br /> | For example, the neutral triad can have the neutral 7th added to it to make a full neutral tetrad: 0-7-14-21 William Lynch considers this chord to be the most beautiful tetrad in 24 Edo. In addition, the arto tetrad can have the arto 7th added to it but the chord tends to work better when a minor 7th is used in place of an arto seventh forming the arto tetrad: 0-5-14-20. The Tendo tetrad can also be made by attatching an arto seventh to tendo triad 0-9-14-19. Although the &quot;Super-Tendo&quot; chord can be made by attatching the tendo seventh to the chord, this chord is very dissonant, and therefore it is not considered a resolved sonority, although the sound of 0-9-14-23 is very cool in many context.<br /> | ||
<br /> | <br /> | ||
William Lynch considers these three tetrads to be a good selection for functional harmony in 24 Edo:<br /> | |||
<br /> | <br /> | ||
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Neutral 0-7-14-21 or 1, v3, 5, v7<br /> | Neutral 0-7-14-21 or 1, v3, 5, v7<br /> | ||
Arto 0-5-14-20 or 1, bv3, 5, b7<br /> | Arto 0-5-14-20 or 1, bv3, 5, b7<br /> | ||
Tendo 0-9-14-19 or 1, ^3, 5, bv7 <br /> | Tendo 0-9-14-19 or 1, ^3, 5, bv7<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:15:&lt;h1&gt; --><h1 id="toc7"><a name="Naming Chords in 24 Edo"></a><!-- ws:end:WikiTextHeadingRule:15 -->Naming Chords in 24 Edo</h1> | <!-- ws:start:WikiTextHeadingRule:15:&lt;h1&gt; --><h1 id="toc7"><a name="Naming Chords in 24 Edo"></a><!-- ws:end:WikiTextHeadingRule:15 -->Naming Chords in 24 Edo</h1> | ||
<br /> | <br /> | ||
Naming chords in 24 edo can be achieved by adding a few things to the already existing set of terms that are used to name 12 Edo chords. <br /> | Naming chords in 24 edo can be achieved by adding a few things to the already existing set of terms that are used to name 12 Edo chords.<br /> | ||
They are:<br /> | They are:<br /> | ||
Super + perfect interval such as &quot;perfect fifth&quot; means to raise it by a quarter tone. <br /> | Super + perfect interval such as &quot;perfect fifth&quot; means to raise it by a quarter tone.<br /> | ||
Sub + perfect interval means to lower a quarter tone. <br /> | Sub + perfect interval means to lower a quarter tone.<br /> | ||
Sharp is to raise by one half tone<br /> | Sharp is to raise by one half tone<br /> | ||
Flat is to raise by a half tone<br /> | Flat is to raise by a half tone<br /> | ||
Neutral, arto and Tendo refer triads OR also to the tetrad versions <br /> | Neutral, arto and Tendo refer triads OR also to the tetrad versions<br /> | ||
Neutral, Arto, or Tendo + interval name of 2nd, 3rd, 6th, or 7th is to alter respectively<br /> | Neutral, Arto, or Tendo + interval name of 2nd, 3rd, 6th, or 7th is to alter respectively<br /> | ||
<br /> | <br /> | ||