Armodue harmony: Difference between revisions
Wikispaces>hstraub **Imported revision 162831571 - Original comment: ** |
Wikispaces>tetraF **Imported revision 162970835 - 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> | ||
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The resulting chord - built in perfect central symmetry or nucleopolarity - constitutes the fundamental sound system to which we will refer in the texture of the melodies and architecture of the chords. | The resulting chord - built in perfect central symmetry or nucleopolarity - constitutes the fundamental sound system to which we will refer in the texture of the melodies and architecture of the chords. | ||
The modulation principle, in this environment, is to | The modulation principle, in this environment, is to be meant as minimal and gradual variation of the size of one or several intervals that are pivoted on the chord's nucleopolar note, or - more drastically - to be interpreted as a radical and brusque transformation of the same intervals. | ||
In Armodue, nucleopolar harmony cans find a wider and more perfect application , compared to the twelve notes system. In fact, a sixteen notes scale seems already to contain implicitly the central symmetry principle (sixteen is the perfect square of a perfect square -4- and corresponds to the mandala archetype as conceived in almost all cultures and traditions of the world: a wheel with eight or sixteen spokes). | In Armodue, nucleopolar harmony cans find a wider and more perfect application , compared to the twelve notes system. In fact, a sixteen notes scale seems already to contain implicitly the central symmetry principle (sixteen is the perfect square of a perfect square -4- and corresponds to the mandala archetype as conceived in almost all cultures and traditions of the world: a wheel with eight or sixteen spokes). | ||
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The resulting chord - built in perfect central symmetry or nucleopolarity - constitutes the fundamental sound system to which we will refer in the texture of the melodies and architecture of the chords.<br /> | The resulting chord - built in perfect central symmetry or nucleopolarity - constitutes the fundamental sound system to which we will refer in the texture of the melodies and architecture of the chords.<br /> | ||
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The modulation principle, in this environment, is to | The modulation principle, in this environment, is to be meant as minimal and gradual variation of the size of one or several intervals that are pivoted on the chord's nucleopolar note, or - more drastically - to be interpreted as a radical and brusque transformation of the same intervals.<br /> | ||
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In Armodue, nucleopolar harmony cans find a wider and more perfect application , compared to the twelve notes system. In fact, a sixteen notes scale seems already to contain implicitly the central symmetry principle (sixteen is the perfect square of a perfect square -4- and corresponds to the mandala archetype as conceived in almost all cultures and traditions of the world: a wheel with eight or sixteen spokes).<br /> | In Armodue, nucleopolar harmony cans find a wider and more perfect application , compared to the twelve notes system. In fact, a sixteen notes scale seems already to contain implicitly the central symmetry principle (sixteen is the perfect square of a perfect square -4- and corresponds to the mandala archetype as conceived in almost all cultures and traditions of the world: a wheel with eight or sixteen spokes).<br /> | ||