3edo: Difference between revisions
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It also erases leading tones in the sense that 10/9, 16/15 and 25/24 are all mapped to the unison, or in other words to 0 steps. It can therefore be seen as related to 19th century musical theories such as those of Carl Friedrich Weitzmann, who classified triads in terms of the associated augmented triad of 12EDO as semitonal displacements. Moreover if we encode the kind of triad (major or minor, or even including augmented and diminished) along with the 3EDO note, we can reconstruct a 5-limit or even 7-limit version of the music. Changing the code will change the music, but preserve its 3EDO skeleton. And because of the way 3EDO relates to 10/9, 16/15 and 25/24, there is a tendency for voice-leading to work itself out correctly when we do. | It also erases leading tones in the sense that 10/9, 16/15 and 25/24 are all mapped to the unison, or in other words to 0 steps. It can therefore be seen as related to 19th century musical theories such as those of Carl Friedrich Weitzmann, who classified triads in terms of the associated augmented triad of 12EDO as semitonal displacements. Moreover if we encode the kind of triad (major or minor, or even including augmented and diminished) along with the 3EDO note, we can reconstruct a 5-limit or even 7-limit version of the music. Changing the code will change the music, but preserve its 3EDO skeleton. And because of the way 3EDO relates to 10/9, 16/15 and 25/24, there is a tendency for voice-leading to work itself out correctly when we do. | ||
[[Category:5-limit]] | [[Category:5-limit]] | ||
[[Category: | [[Category:Edo]] | ||
[[Category: | [[Category:Prime EDO]] | ||
[[Category: | [[Category:Macrotonal]] | ||