Mixed timbre: Difference between revisions

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A '''mixed timbre''' is a type of musical timbre that is intermediate between a perfectly harmonic (mode-locked) timbre and an inharmonic one. These types of timbres introduce a slight amount of inharmonicity, with partials being bent up or down by a few cents, while also maintaining the same "clear" quality that distinguishes harmonic timbres from the more "opaque" or bell-like inharmonic ones. The term mixed timbre was coined by [[Mason Green]], although the concept may have been proposed before.

A '''mixed timbre'''{{idiosyncratic}} is a type of musical timbre that is intermediate between a perfectly harmonic (mode-locked) timbre and an inharmonic one. These types of timbres introduce a slight amount of inharmonicity, with partials being bent up or down by a few cents, while also maintaining the same "clear" quality that distinguishes harmonic timbres from the more "opaque" or bell-like inharmonic ones. The term mixed timbre was coined by [[Mason Green]], although the concept may have been proposed before.

Mixed timbres are ideal for use with tunings that ''almost,'' but not quite, provide satisfactory approximations for certain intervals. For example, [[22edo]] is a fairly good [[11-limit]] system, and it also allows for a great deal of new modal and tonal possibilities, which have been written about by [[Paul Erlich]] among others. Some of these scales sound much better if the 600-cent tritone is treated as a consonance rather than a dissonance. Similarly, it might be a good idea to treat the tempered whole tone (~218 cents) as a consonance as well, since it occurs in inversions of the harmonic seventh chord.

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It's not just xenharmonic tunings that can benefit from using mixed timbres; even plain old [[12edo]] can, as well (if you use a timbre with the 5th and 7th partials bent up).

~~[[Category:Terms]]~~

[[Category:Timbre]]

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-A '''mixed timbre''' is a type of musical timbre that is intermediate between a perfectly harmonic (mode-locked) timbre and an inharmonic one. These types of timbres introduce a slight amount of inharmonicity, with partials being bent up or down by a few cents, while also maintaining the same "clear" quality that distinguishes harmonic timbres from the more "opaque" or bell-like inharmonic ones. The term mixed timbre was coined by [[Mason Green]], although the concept may have been proposed before.
+A '''mixed timbre'''{{idiosyncratic}} is a type of musical timbre that is intermediate between a perfectly harmonic (mode-locked) timbre and an inharmonic one. These types of timbres introduce a slight amount of inharmonicity, with partials being bent up or down by a few cents, while also maintaining the same "clear" quality that distinguishes harmonic timbres from the more "opaque" or bell-like inharmonic ones. The term mixed timbre was coined by [[Mason Green]], although the concept may have been proposed before.
 Mixed timbres are ideal for use with tunings that ''almost,'' but not quite, provide satisfactory approximations for certain intervals. For example, [[22edo]] is a fairly good [[11-limit]] system, and it also allows for a great deal of new modal and tonal possibilities, which have been written about by [[Paul Erlich]] among others. Some of these scales sound much better if the 600-cent tritone is treated as a consonance rather than a dissonance. Similarly, it might be a good idea to treat the tempered whole tone (~218 cents) as a consonance as well, since it occurs in inversions of the harmonic seventh chord.
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 It's not just xenharmonic tunings that can benefit from using mixed timbres; even plain old [[12edo]] can, as well (if you use a timbre with the 5th and 7th partials bent up).
-[[Category:Terms]]
 [[Category:Timbre]]