Armodue harmony: Difference between revisions
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
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In Armodue the tenth of sixteen eka can be divided into 2, 4, or 8 parts. | In Armodue the tenth of sixteen eka can be divided into 2, 4, or 8 parts. | ||
* * * * * //(begins rough translation)* * * * *// | |||
But apart from these subdivisions of the tenth, the modal system of Messiaen can be extended to all intervals with sizes between 3 and 8 eka. | But apart from these subdivisions of the tenth, the modal system of Messiaen can be extended to all intervals with sizes between 3 and 8 eka. | ||
If example we assume as limit interval the 6 eka one (two tomes plus a quarter tome in the 12edo System) we obtain the following sequence of notes: | |||
1, 4, 7#, 2, 5#, 8#, 3, 6#, 1 | |||
As we can ascertain, in the range os three tenths (equivalent to three 12-edo octave) the circle closes and from the starting note 1 we arrive againto the note 1 three tenths up, by 6 eka successive carrying. | |||
In strictly mathematic terms, the least common multiple of 16 eka (the tenth wide) and 6 eka (the carried interval) is 48 eka (corrisponding to the size of three tenths). | |||
Every interval of six eka - carried eight times in the three tenths range - can organizing in several manner at his inside; if example in modules of: 3 + 2 + 1 eka, in that case we obtain the following 24 notes scalar system: | |||
1, 2#, 3#, 4; (4), 6, 7, 7#; (7#), 9, 1#, 2; (2), 3#, 5, 5#; (5#), 7, 8, 8#; (8#), 1#, 2#, 3; (3), 5, 6, 6#; (6#), 8, 9, 1. | |||
[note: the repeated parenthetical notes wants to highlight how the first and the last note of every group coincides] | |||
All of sixteen notes appears at least one time inside the illustrated scale. | |||
So, it's essenzial to remember the sphere of membership of the note in respect to the three tenths. | |||
Supposing - for semplicity - to play in a three tenths register, we'll have eight notes for tenth in disposition for create the chord and melody and counterpoints texture. | |||
Precisely, the notes: | |||
1, 2#, 3#, 4, 6, 7, 7#, 9 in the first tenth, the lowest; | |||
1#, 2, 3#, 5, 5#, 7, 8, 8# in the second tenth, the central; | |||
1#, 2#, 3, 5, 6, 6#, 8, 9 in the third tenth, the highest. | |||
Note that if we carry the originary defining intervals of 6 eka starting from note 1# instead 1, we obtain the eight pivot notes missing in the note 1 sequence: | |||
1#, 5, 8, 2#, 6, 9, 3#, 7, 1# | |||
At the so finded notes we can apply the same division according to the 3-2-1 eka module, obtaining the same 24 notes scale, but raised of 1 eka. | |||
* * * * * | |||
---- | ---- | ||
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In Armodue the tenth of sixteen eka can be divided into 2, 4, or 8 parts.<br /> | In Armodue the tenth of sixteen eka can be divided into 2, 4, or 8 parts.<br /> | ||
<br /> | <br /> | ||
<ul><li>* * * * <em>(begins rough translation)* * * * *</em></li></ul><br /> | |||
But apart from these subdivisions of the tenth, the modal system of Messiaen can be extended to all intervals with sizes between 3 and 8 eka.<br /> | But apart from these subdivisions of the tenth, the modal system of Messiaen can be extended to all intervals with sizes between 3 and 8 eka.<br /> | ||
If example we assume as limit interval the 6 eka one (two tomes plus a quarter tome in the 12edo System) we obtain the following sequence of notes:<br /> | |||
<br /> | |||
<br /> | |||
1, 4, 7#, 2, 5#, 8#, 3, 6#, 1<br /> | |||
<br /> | |||
As we can ascertain, in the range os three tenths (equivalent to three 12-edo octave) the circle closes and from the starting note 1 we arrive againto the note 1 three tenths up, by 6 eka successive carrying. <br /> | |||
In strictly mathematic terms, the least common multiple of 16 eka (the tenth wide) and 6 eka (the carried interval) is 48 eka (corrisponding to the size of three tenths).<br /> | |||
Every interval of six eka - carried eight times in the three tenths range - can organizing in several manner at his inside; if example in modules of: 3 + 2 + 1 eka, in that case we obtain the following 24 notes scalar system:<br /> | |||
<br /> | |||
1, 2#, 3#, 4; (4), 6, 7, 7#; (7#), 9, 1#, 2; (2), 3#, 5, 5#; (5#), 7, 8, 8#; (8#), 1#, 2#, 3; (3), 5, 6, 6#; (6#), 8, 9, 1.<br /> | |||
<br /> | |||
[note: the repeated parenthetical notes wants to highlight how the first and the last note of every group coincides]<br /> | |||
<br /> | |||
All of sixteen notes appears at least one time inside the illustrated scale.<br /> | |||
So, it's essenzial to remember the sphere of membership of the note in respect to the three tenths. <br /> | |||
Supposing - for semplicity - to play in a three tenths register, we'll have eight notes for tenth in disposition for create the chord and melody and counterpoints texture. <br /> | |||
Precisely, the notes:<br /> | |||
<br /> | |||
1, 2#, 3#, 4, 6, 7, 7#, 9 in the first tenth, the lowest;<br /> | |||
1#, 2, 3#, 5, 5#, 7, 8, 8# in the second tenth, the central;<br /> | |||
1#, 2#, 3, 5, 6, 6#, 8, 9 in the third tenth, the highest.<br /> | |||
<br /> | |||
Note that if we carry the originary defining intervals of 6 eka starting from note 1# instead 1, we obtain the eight pivot notes missing in the note 1 sequence:<br /> | |||
<br /> | |||
1#, 5, 8, 2#, 6, 9, 3#, 7, 1#<br /> | |||
<br /> | <br /> | ||
At the so finded notes we can apply the same division according to the 3-2-1 eka module, obtaining the same 24 notes scale, but raised of 1 eka.<br /> | |||
<br /> | <br /> | ||
<br /> | <br /> | ||
<ul><li>* * * *</li></ul><br /> | |||
<hr /> | <hr /> | ||
Chapter 4: <br /> | Chapter 4: <br /> | ||