User:Mousemambo/Workbench: Difference between revisions
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*[[Interval]] and [[Interval region]]. Wikipedia: [[Wikipedia:Interval (music)|Interval (music)]]. | *[[Interval]] and [[Interval region]]. Wikipedia: [[Wikipedia:Interval (music)|Interval (music)]]. | ||
*[[Ratio]] and [[Interval size measure]] | *[[Ratio]] and [[Interval size measure]] | ||
*[[Harmonic series | *[[Harmonic series]]. Wikipedia: [[Wikipedia:Harmonic series (music)|Harmonic series (music)]]. | ||
*[[Scale]]. Wikipedia: [[Wikipedia:Scale (music)|Scale (music)]]. | *[[Scale]]. Wikipedia: [[Wikipedia:Scale (music)|Scale (music)]]. | ||
**[[Mode]]. Wikipedia: [[Wikipedia:Mode (music)|Mode (music)]]. | **[[Mode]]. Wikipedia: [[Wikipedia:Mode (music)|Mode (music)]]. | ||
** | **Wikipedia: [[Wikipedia:Limit (music)|Limit (music)]]. | ||
**[[Scale naming]] | **[[Scale naming]] | ||
**[[5L 2s]] (aka [[Diatonic]]). Wikipedia: [[Wikipedia:Diatonic scale|Diatonic scale]] and [[Wikipedia:Regular diatonic tuning|Regular diatonic tuning]]. | **[[5L 2s]] (aka [[Diatonic]]). Wikipedia: [[Wikipedia:Diatonic scale|Diatonic scale]] and [[Wikipedia:Regular diatonic tuning|Regular diatonic tuning]]. | ||
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**[[Porcupine]] | **[[Porcupine]] | ||
**[[Bohlen-Pierce scale]] | **[[Bohlen-Pierce scale]] | ||
*[[Harmonic limit]] | |||
*Articles | *Articles | ||
**[[Mike Sheiman's Very Easy Scale Building From The Harmonic Series Page]] | **[[Mike Sheiman's Very Easy Scale Building From The Harmonic Series Page]] | ||
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*[[Just intonation harmony]] (or [[Harmony in just intonation]]). This needed article would present an introduction to creating harmony in just intonation (JI) tunings. It introduces ideas and strategies for harmony that also apply to other uneven tunings, and provides a foundation for understanding more extended xenharmonic harmonization. It should emphasize the important explicit and implicit harmonic qualities of arpeggiation, counterpoint, and dyadic harmony in JI and other non-regular tunings. Some ideas to include... | *[[Just intonation harmony]] (or [[Harmony in just intonation]]). This needed article would present an introduction to creating harmony in just intonation (JI) tunings. It introduces ideas and strategies for harmony that also apply to other uneven tunings, and provides a foundation for understanding more extended xenharmonic harmonization. It should emphasize the important explicit and implicit harmonic qualities of arpeggiation, counterpoint, and dyadic harmony in JI and other non-regular tunings. Some ideas to include... | ||
**In ancient music, "pure" tunings based on lower harmonic series overtones (e.g. Pythagorean, aka 3-limit) were understood to mostly support only limited dyadic harmony, because few intervals in any purely JI tuning were considered acceptably consonant. Singing and playing in unison was typical. Interval table analysis of an example 3-limit JI tuning (see table; to be added) reveals how many of that tunings' dyadic intervals are unusable for harmony. Triads that are consonant — by traditional measure — are unavailable in ancient JI tunings. | **In ancient music, "pure" tunings based on lower harmonic series overtones (e.g. Pythagorean, aka 3-limit) were understood to mostly support only limited dyadic harmony, because few intervals in any purely JI tuning were considered acceptably consonant. Singing and playing in unison was typical. Interval table analysis of an example 3-limit JI tuning (see table; to be added) reveals how many of that tunings' dyadic intervals are unusable for harmony. Triads that are consonant — by traditional measure — are unavailable in ancient JI tunings. | ||
**However, many traditional cultural musics successfully integrated dyadic harmony, e.g. ancient Greek music and its early European descendants, traditional Middle Eastern music, traditional classical Chinese music, and some traditional African music. The commitment to 3-limit tunings | **However, many traditional cultural musics successfully integrated dyadic harmony, e.g. ancient Greek music and its early European descendants, traditional Middle Eastern music, traditional classical Chinese music, and some traditional African music. The commitment to 3-limit tunings of this time was essentially ideological, reinforced by the strong human tendency to hear unfamiliar tunings as "wrong." | ||
**The expansion of JI tunings from 3-limit (Pythagorean) to 5-limit (e.g. Ptolemaic) increased the number of intervals considered consonant, and therefore the harmonic possibilities in these tunings. Although options for triadic harmony were still limited compared to later developments, the strongly consonant Ptolemaic just major triad and some other consonant triads became available. Nevertheless, harmony through the European Medieval period remained mostly limited to fifths and fourths in parallel motion, with some experimentation. | **The expansion of JI tunings from 3-limit (Pythagorean) to 5-limit (e.g. Ptolemaic) increased the number of intervals considered consonant, and therefore the harmonic possibilities in these tunings. Although options for triadic harmony were still limited compared to later developments, the strongly consonant Ptolemaic just major triad and some other consonant triads became available. Nevertheless, harmony through the European Medieval period remained mostly limited to fifths and fourths in parallel motion, with some experimentation. | ||
**Melodic arpeggiation, ostinato, and the introduction of early basso continuo accompaniment, provided composers with a conceptual doorway to more sophisticated harmonic ideas in early European JI music, without the more obvious dissonance of nearby-pitched notes sounded simultaneously. The developing popularity of counterpoint in Medieval melody also encouraged considering more complex harmony. | **Melodic arpeggiation, ostinato, and the introduction of early basso continuo accompaniment, provided composers with a conceptual doorway to more sophisticated harmonic ideas in early European JI music, without the more obvious dissonance of nearby-pitched notes sounded simultaneously. The developing popularity of counterpoint in Medieval melody also encouraged considering more complex harmony. | ||
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**Some contemporary composers have been rediscovering the attractive tonality of pure harmony and its deeply consonant quality. People only familiar with the advantages of ubiquitous equal temperament may initially find composing in just intonation is notably constrained because many intervals are unavailable due to dissonance, reducing its harmonic possibilities. However, constraints in artistic work can also inspire creative solutions. One of the charms of composing in a new tuning system is learning what works well in it, and expresses its tonality with enough beauty that the listener doesn't realize what the composer has worked to avoid. It's also worth considering that humans have composed music in just intonation for thousands of years, although nearly all of it has been lost. | **Some contemporary composers have been rediscovering the attractive tonality of pure harmony and its deeply consonant quality. People only familiar with the advantages of ubiquitous equal temperament may initially find composing in just intonation is notably constrained because many intervals are unavailable due to dissonance, reducing its harmonic possibilities. However, constraints in artistic work can also inspire creative solutions. One of the charms of composing in a new tuning system is learning what works well in it, and expresses its tonality with enough beauty that the listener doesn't realize what the composer has worked to avoid. It's also worth considering that humans have composed music in just intonation for thousands of years, although nearly all of it has been lost. | ||
*[[Dyadic chord]] | *[[Dyadic chord]] | ||
*Articles | *Articles | ||
**[[Margo Schulter]]. Pythagorean tuning and Medieval polyphony § [http://www.medieval.org/emfaq/harmony/pyth5.html Pythagorean tuning and Gothic polyphony]. | **[[Margo Schulter]]. Pythagorean tuning and Medieval polyphony § [http://www.medieval.org/emfaq/harmony/pyth5.html Pythagorean tuning and Gothic polyphony]. | ||