7-limit: Difference between revisions
Wikispaces>xenwolf **Imported revision 239308589 - Original comment: ** |
Wikispaces>Andrew_Heathwaite **Imported revision 262979100 - 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: | : This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2011-10-09 12:07:09 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>262979100</tt>.<br> | ||
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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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The phrase "7-limit just intonation" usually refers to the 7 prime-limit and includes primes 2, 3, 5, and 7. When octave equivalence is assumed, an interval can be taken as a pitch class representing that interval in every possible octave. This leaves primes 3, 5, and 7, which can be represented in [[The Seven Limit Symmetrical Lattices|3-dimensional lattice diagrams]], each prime represented by a different dimension. Lattices describing scales beyond the 7-limit require more than three dimensions, and in the 7-limit, such lattices have unique features which simplify the relations between 7-limit chords. | The phrase "7-limit just intonation" usually refers to the 7 prime-limit and includes primes 2, 3, 5, and 7. When octave equivalence is assumed, an interval can be taken as a pitch class representing that interval in every possible octave. This leaves primes 3, 5, and 7, which can be represented in [[The Seven Limit Symmetrical Lattices|3-dimensional lattice diagrams]], each prime represented by a different dimension. Lattices describing scales beyond the 7-limit require more than three dimensions, and in the 7-limit, such lattices have unique features which simplify the relations between 7-limit chords. | ||
For a variety of reasons, common-practice music has been somewhat stuck at the 5-limit for centuries, though 7-limit intervals have a characteristic jazzy sound which is at least partially familiar. Music in the 7-limit thus represents a large step forward, although not as much as 11- or 13-limit, which usually sound much more exotic. | For a variety of reasons, common-practice music has been somewhat stuck at the 5-limit for centuries, though 7-limit intervals have a characteristic jazzy sound which is at least partially familiar. Music in the 7-limit thus represents a large step forward, although not as much as [[11-limit|11-]] or [[13-limit]], which usually sound much more exotic. | ||
Relative to their size, the equal divisions [[12edo]], [[19edo]], [[31edo]], [[99edo]] and [[171edo]] provide good approximations to the 7-limit, with [[15edo]], [[22edo]], [[27edo]], [[41edo]], [[46edo]], [[53edo]], [[58edo]], [[68edo]], [[72edo]], [[118edo]], [[130edo]], [[140edo]] and [[152edo]] among the others worthy of notice. | Relative to their size, the equal divisions [[12edo]], [[19edo]], [[31edo]], [[99edo]] and [[171edo]] provide good approximations to the 7-limit, with [[15edo]], [[22edo]], [[27edo]], [[41edo]], [[46edo]], [[53edo]], [[58edo]], [[68edo]], [[72edo]], [[118edo]], [[130edo]], [[140edo]] and [[152edo]] among the others worthy of notice. | ||
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see [[Harmonic Limit]] | see [[Harmonic Limit]] | ||
=Music= | =Music= | ||
[[http://micro.soonlabel.com/blue-tuning/blue-ji-excluded-by-peers.mp3|Excluded by Peers]] by [[Chris Vaisvil]] | [[http://micro.soonlabel.com/blue-tuning/blue-ji-excluded-by-peers.mp3|Excluded by Peers]] by [[Chris Vaisvil]] | ||
[[http://micro.soonlabel.com/centaur_tuning/Prelude_For_Centaur_Tuned_Piano.mp3|Prelude for Centaur Tuned Piano]] by Chris Vaisvil | [[http://micro.soonlabel.com/centaur_tuning/Prelude_For_Centaur_Tuned_Piano.mp3|Prelude for Centaur Tuned Piano]] by Chris Vaisvil | ||
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The phrase &quot;7-limit just intonation&quot; usually refers to the 7 prime-limit and includes primes 2, 3, 5, and 7. When octave equivalence is assumed, an interval can be taken as a pitch class representing that interval in every possible octave. This leaves primes 3, 5, and 7, which can be represented in <a class="wiki_link" href="/The%20Seven%20Limit%20Symmetrical%20Lattices">3-dimensional lattice diagrams</a>, each prime represented by a different dimension. Lattices describing scales beyond the 7-limit require more than three dimensions, and in the 7-limit, such lattices have unique features which simplify the relations between 7-limit chords.<br /> | The phrase &quot;7-limit just intonation&quot; usually refers to the 7 prime-limit and includes primes 2, 3, 5, and 7. When octave equivalence is assumed, an interval can be taken as a pitch class representing that interval in every possible octave. This leaves primes 3, 5, and 7, which can be represented in <a class="wiki_link" href="/The%20Seven%20Limit%20Symmetrical%20Lattices">3-dimensional lattice diagrams</a>, each prime represented by a different dimension. Lattices describing scales beyond the 7-limit require more than three dimensions, and in the 7-limit, such lattices have unique features which simplify the relations between 7-limit chords.<br /> | ||
<br /> | <br /> | ||
For a variety of reasons, common-practice music has been somewhat stuck at the 5-limit for centuries, though 7-limit intervals have a characteristic jazzy sound which is at least partially familiar. Music in the 7-limit thus represents a large step forward, although not as much as 11- or 13-limit, which usually sound much more exotic.<br /> | For a variety of reasons, common-practice music has been somewhat stuck at the 5-limit for centuries, though 7-limit intervals have a characteristic jazzy sound which is at least partially familiar. Music in the 7-limit thus represents a large step forward, although not as much as <a class="wiki_link" href="/11-limit">11-</a> or <a class="wiki_link" href="/13-limit">13-limit</a>, which usually sound much more exotic.<br /> | ||
<br /> | <br /> | ||
Relative to their size, the equal divisions <a class="wiki_link" href="/12edo">12edo</a>, <a class="wiki_link" href="/19edo">19edo</a>, <a class="wiki_link" href="/31edo">31edo</a>, <a class="wiki_link" href="/99edo">99edo</a> and <a class="wiki_link" href="/171edo">171edo</a> provide good approximations to the 7-limit, with <a class="wiki_link" href="/15edo">15edo</a>, <a class="wiki_link" href="/22edo">22edo</a>, <a class="wiki_link" href="/27edo">27edo</a>, <a class="wiki_link" href="/41edo">41edo</a>, <a class="wiki_link" href="/46edo">46edo</a>, <a class="wiki_link" href="/53edo">53edo</a>, <a class="wiki_link" href="/58edo">58edo</a>, <a class="wiki_link" href="/68edo">68edo</a>, <a class="wiki_link" href="/72edo">72edo</a>, <a class="wiki_link" href="/118edo">118edo</a>, <a class="wiki_link" href="/130edo">130edo</a>, <a class="wiki_link" href="/140edo">140edo</a> and <a class="wiki_link" href="/152edo">152edo</a> among the others worthy of notice.<br /> | Relative to their size, the equal divisions <a class="wiki_link" href="/12edo">12edo</a>, <a class="wiki_link" href="/19edo">19edo</a>, <a class="wiki_link" href="/31edo">31edo</a>, <a class="wiki_link" href="/99edo">99edo</a> and <a class="wiki_link" href="/171edo">171edo</a> provide good approximations to the 7-limit, with <a class="wiki_link" href="/15edo">15edo</a>, <a class="wiki_link" href="/22edo">22edo</a>, <a class="wiki_link" href="/27edo">27edo</a>, <a class="wiki_link" href="/41edo">41edo</a>, <a class="wiki_link" href="/46edo">46edo</a>, <a class="wiki_link" href="/53edo">53edo</a>, <a class="wiki_link" href="/58edo">58edo</a>, <a class="wiki_link" href="/68edo">68edo</a>, <a class="wiki_link" href="/72edo">72edo</a>, <a class="wiki_link" href="/118edo">118edo</a>, <a class="wiki_link" href="/130edo">130edo</a>, <a class="wiki_link" href="/140edo">140edo</a> and <a class="wiki_link" href="/152edo">152edo</a> among the others worthy of notice.<br /> | ||
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<!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Music"></a><!-- ws:end:WikiTextHeadingRule:0 -->Music</h1> | <!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Music"></a><!-- ws:end:WikiTextHeadingRule:0 -->Music</h1> | ||
<a class="wiki_link_ext" href="http://micro.soonlabel.com/blue-tuning/blue-ji-excluded-by-peers.mp3" rel="nofollow">Excluded by Peers</a> by <a class="wiki_link" href="/Chris%20Vaisvil">Chris Vaisvil</a><br /> | <a class="wiki_link_ext" href="http://micro.soonlabel.com/blue-tuning/blue-ji-excluded-by-peers.mp3" rel="nofollow">Excluded by Peers</a> by <a class="wiki_link" href="/Chris%20Vaisvil">Chris Vaisvil</a><br /> | ||
<a class="wiki_link_ext" href="http://micro.soonlabel.com/centaur_tuning/Prelude_For_Centaur_Tuned_Piano.mp3" rel="nofollow">Prelude for Centaur Tuned Piano</a> by Chris Vaisvil<br /> | <a class="wiki_link_ext" href="http://micro.soonlabel.com/centaur_tuning/Prelude_For_Centaur_Tuned_Piano.mp3" rel="nofollow">Prelude for Centaur Tuned Piano</a> by Chris Vaisvil<br /> | ||
<a class="wiki_link_ext" href="http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Prelude%20%231%20for%207-limit%20JI.mp3" rel="nofollow">Prelude #1 in 7-limit JI</a> by <a class="wiki_link" href="/Ivor%20Darreg">Ivor Darreg</a> &lt;-- are there any notations for it?<br /> | <a class="wiki_link_ext" href="http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Prelude%20%231%20for%207-limit%20JI.mp3" rel="nofollow">Prelude #1 in 7-limit JI</a> by <a class="wiki_link" href="/Ivor%20Darreg">Ivor Darreg</a> &lt;-- are there any notations for it?<br /> | ||
<a class="wiki_link_ext" href="http://www.archive.org/details/ClintonVariations" rel="nofollow">Clinton Variations</a> <a class="wiki_link_ext" href="http://www.archive.org/download/ClintonVariations/clinton.mp3" rel="nofollow">play</a> by <a class="wiki_link" href="/Gene%20Ward%20Smith">Gene Ward Smith</a><br /> | <a class="wiki_link_ext" href="http://www.archive.org/details/ClintonVariations" rel="nofollow">Clinton Variations</a> <a class="wiki_link_ext" href="http://www.archive.org/download/ClintonVariations/clinton.mp3" rel="nofollow">play</a> by <a class="wiki_link" href="/Gene%20Ward%20Smith">Gene Ward Smith</a><br /> | ||
<a class="wiki_link_ext" href="http://www.youtube.com/watch?v=HzQmaxDIxnc&amp;feature=channel_video_title" rel="nofollow">Pachelbel's Canon in D in 7-limit JI</a> <a class="wiki_link_ext" href="http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Meneghin/Pachelbel_s%20Canon%20in%20D%20-%20Relaxing%20music,%20with%20mountain%20views.mp3" rel="nofollow">play</a></body></html></pre></div> | <a class="wiki_link_ext" href="http://www.youtube.com/watch?v=HzQmaxDIxnc&amp;feature=channel_video_title" rel="nofollow">Pachelbel's Canon in D in 7-limit JI</a> <a class="wiki_link_ext" href="http://clones.soonlabel.com/public/micro/gene_ward_smith/Others/Meneghin/Pachelbel_s%20Canon%20in%20D%20-%20Relaxing%20music,%20with%20mountain%20views.mp3" rel="nofollow">play</a></body></html></pre></div> | ||