Dreyblatt tuning system: Difference between revisions
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Wikispaces>zenjacob **Imported revision 1371069 - Original comment: ** |
Wikispaces>guest **Imported revision 2696984 - Original comment: ** |
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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:guest|guest]] and made on <tt>2007-02-07 21:44:59 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>2696984</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
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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Revision as of 21:44, 7 February 2007
IMPORTED REVISION FROM WIKISPACES
This is an imported revision from Wikispaces. The revision metadata is included below for reference:
- This revision was by author guest and made on 2007-02-07 21:44:59 UTC.
- The original revision id was 2696984.
- The revision comment was:
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.
Original Wikitext content:
(from [[http://www.dreyblatt.net/html/music.php?id=67|Arnold Dreyblatt's website]]) //The tuning system used in my music is calculated from the third, fifth, seventh, ninth and eleventh overtones and their multiples in the following pattern:// //1 3 5 7 9 11// //3 9 15 21 27 33// //5 15 25 35 45 55// //7 21 35 49 63 77// //9 27 45 63 81 99// //11 33 55 77 99 121// //These mathematically related overones are heard as a tonal relation when they are transposed and sounded above a fundamental tone. In this process of transposition from their position in the natural overtone series, these tones fall in the span of one octave in the following// //order: 1, 33, 35, 9, 77, 5, 81, 21, [11,] 45, 3, 49, 99, 25, 27, 55, 7, 15, 121, 63, (2)// As ratios: 1/1 33/32 35/32 9/8 77/64 5/4 81/64 21/16 11/8 45/32 3/2 49/32 99/64 25/16 27/16 55/32 7/4 15/8 121/64 63/32 2/1
Original HTML content:
<html><head><title>Arnold Dreyblatt</title></head><body>(from <a class="wiki_link_ext" href="http://www.dreyblatt.net/html/music.php?id=67" rel="nofollow">Arnold Dreyblatt's website</a>)<br /> <br /> <em>The tuning system used in my music is calculated from the third, fifth, seventh, ninth and eleventh overtones and their multiples in the following pattern:</em><br /> <br /> <em>1 3 5 7 9 11</em><br /> <em>3 9 15 21 27 33</em><br /> <em>5 15 25 35 45 55</em><br /> <em>7 21 35 49 63 77</em><br /> <em>9 27 45 63 81 99</em><br /> <em>11 33 55 77 99 121</em><br /> <br /> <em>These mathematically related overones are heard as a tonal relation when they are transposed and sounded above a fundamental tone. In this process of transposition from their position in the natural overtone series, these tones fall in the span of one octave in the following</em><br /> <em>order: 1, 33, 35, 9, 77, 5, 81, 21, [11,] 45, 3, 49, 99, 25, 27, 55, 7, 15, 121, 63, (2)</em><br /> <br /> As ratios:<br /> 1/1<br /> 33/32<br /> 35/32<br /> 9/8<br /> 77/64<br /> 5/4<br /> 81/64<br /> 21/16<br /> 11/8<br /> 45/32<br /> 3/2<br /> 49/32<br /> 99/64<br /> 25/16<br /> 27/16<br /> 55/32<br /> 7/4<br /> 15/8<br /> 121/64<br /> 63/32<br /> 2/1</body></html>