Delta-rational chord: Difference between revisions
Cmloegcmluin (talk | contribs) to help keep these closely intertwined concepts straight, consolidate information from isoharmonic/isodifferntial page into this one place, including a categorization table to elucidate their relationships, and introducing concept of "delta ratio set" |
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A '''delta-rational''' ('''DR''') chord is a chord that has integer ratios between frequency ''differences'' of some pair of dyads, called '''deltas''', with the dyads in question assumed to ''not'' overlap (Δ, capital delta, is often used to denote "difference"). | A '''delta-rational''' ('''DR''') chord is a [[chord]] that has integer ratios between frequency ''differences'' of some pair of dyads, called '''deltas''', with the dyads in question assumed to ''not'' overlap (Δ, capital delta, is often used to denote "difference"). | ||
DR chords generalize JI chords, in which all frequency differences of dyads are exactly integer ratios. But unlike JI chords, a DR chord need not have integer ratios between frequencies of notes. For example, the [[13edo]] chord 0-3-8-10\13 (0¢-277¢-738¢-923¢) is close to being delta-rational, because the frequency difference of the dyad 8-10\13 is 0.994 times the frequency difference of the dyad 0-3\13. (In the exactly DR chord 0\13-3\13-8\13-924.159¢, the 3rd and 4th notes have exactly the same frequency difference as the dyad 0-3\13.) | DR chords generalize JI chords, in which all frequency differences of dyads are exactly integer ratios. But unlike JI chords, a DR chord need not have integer ratios between frequencies of notes. For example, the [[13edo]] chord 0-3-8-10\13 (0¢-277¢-738¢-923¢) is close to being delta-rational, because the frequency difference of the dyad 8-10\13 is 0.994 times the frequency difference of the dyad 0-3\13. (In the exactly DR chord 0\13-3\13-8\13-924.159¢, the 3rd and 4th notes have exactly the same frequency difference as the dyad 0-3\13.) | ||
JI chords and chords that are subsets of [[isodifferential | [[JI]] chords and chords that are subsets of [[Delta-rational chord#Isodifferential chord|isodifferential chords]]s (these correspond to all chords of the form α : α + ''k''<sub>1</sub> : ... : α + ''k''<sub>''n''</sub> for any positive (possibly irrational) number α and integers ''k''<sub>1</sub>, ..., ''k''<sub>''n''</sub>) are special cases of delta-rational chords, but in these chords ''all'' dyads are rationally related in frequency space, which we call either '''fully delta-rational''' (FDR) or '''linear'''. | ||
Delta-rational chords provide a non-JI-based approach to concordance, since chords that are delta-rational with simple ratios between dyads (when measured as absolute frequency differences) tend to be perceived as more concordant than other chords. This acoustic effect is thought to be caused by synchronized interference beating among the fundamentals and among lower harmonics of the fundamentals; the effect may be more or less pronounced depending on register, timbre, the complexity of the linear relationship, etc. For example, the delta-rational acoustic effect is expected to be weaker in chords with wider voicings, as well as chords played in timbres with loud higher harmonics (because the higher harmonics would make the delta-rational relationships less obvious). The justification for ignoring overlapping dyads is that the resulting notes within the dyads could psychoacoustically interfere with the beating of the dyads. | Delta-rational chords provide a non-JI-based approach to concordance, since chords that are delta-rational with simple ratios between dyads (when measured as absolute frequency differences) tend to be perceived as more concordant than other chords. This acoustic effect is thought to be caused by synchronized interference beating among the fundamentals and among lower harmonics of the fundamentals; the effect may be more or less pronounced depending on register, timbre, the complexity of the linear relationship, etc. For example, the delta-rational acoustic effect is expected to be weaker in chords with wider voicings, as well as chords played in timbres with loud higher harmonics (because the higher harmonics would make the delta-rational relationships less obvious). The justification for ignoring overlapping dyads is that the resulting notes within the dyads could psychoacoustically interfere with the beating of the dyads. | ||
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# A chord C = α<sub>1</sub>:...:α<sub>''n''</sub> is ''delta-rational'' (DR) or ''partially delta-rational'' (PDR) when the chord has two distinct dyads α<sub>''k''<sub>1</sub></sub>:α<sub>''k''<sub>2</sub></sub> and α<sub>''k''<sub>3</sub></sub>:α<sub>''k''<sub>4</sub></sub>, such that the real intervals (α<sub>''k''<sub>1</sub></sub>, α<sub>''k''<sub>2</sub></sub>) and (α<sub>''k''<sub>3</sub></sub>, α<sub>''k''<sub>4</sub></sub>) are disjoint and (α<sub>''k''<sub>2</sub></sub> − α<sub>''k''<sub>1</sub></sub>)/(α<sub>''k''<sub>4</sub></sub> − α<sub>''k''<sub>3</sub></sub>) is rational. Equivalently, a chord is delta-rational if it has a delta signature with some integers showing up. | # A chord C = α<sub>1</sub>:...:α<sub>''n''</sub> is ''delta-rational'' (DR) or ''partially delta-rational'' (PDR) when the chord has two distinct dyads α<sub>''k''<sub>1</sub></sub>:α<sub>''k''<sub>2</sub></sub> and α<sub>''k''<sub>3</sub></sub>:α<sub>''k''<sub>4</sub></sub>, such that the real intervals (α<sub>''k''<sub>1</sub></sub>, α<sub>''k''<sub>2</sub></sub>) and (α<sub>''k''<sub>3</sub></sub>, α<sub>''k''<sub>4</sub></sub>) are disjoint and (α<sub>''k''<sub>2</sub></sub> − α<sub>''k''<sub>1</sub></sub>)/(α<sub>''k''<sub>4</sub></sub> − α<sub>''k''<sub>3</sub></sub>) is rational. Equivalently, a chord is delta-rational if it has a delta signature with some integers showing up. | ||
# When all dyads are linearly related, equivalently when the chord has a delta signature with all entries integers, we call the chord ''fully delta-rational'' (FDR) or ''linear''. | # When all dyads are linearly related, equivalently when the chord has a delta signature with all entries integers, we call the chord ''fully delta-rational'' (FDR) or ''linear''. | ||
# A chord that has a delta signature with all entries +1 is called '' | # A chord that has a delta signature with all entries +1 is called ''isodifferential''. | ||
Due to the aforementioned equivalence of delta signatures under scaling, delta signatures of ''n'' terms are really elements of a projective space <math>\mathbb{R}\mathbf{P}^{n-1};</math> they are specifically in the subset that is the image of the all-positive {{w|orthant}} of <math>\mathbb{R}^n.</math> | Due to the aforementioned equivalence of delta signatures under scaling, delta signatures of ''n'' terms are really elements of a projective space <math>\mathbb{R}\mathbf{P}^{n-1};</math> they are specifically in the subset that is the image of the all-positive {{w|orthant}} of <math>\mathbb{R}^n.</math> | ||
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* 0-3-6-11 (+1 +1 +2) | * 0-3-6-11 (+1 +1 +2) | ||
* 0-6-11-19 (+1 +1 +2) | * 0-6-11-19 (+1 +1 +2) | ||
== Higher-order differences of frequency == | == Higher-order differences of frequency == | ||
Generalizing, one could consider chords where differences between its frequency deltas (as Tom Price has called them, '''precessions''') are rationally related, while the deltas themselves may not be. This corresponds to chords where differences between various interference beatings go in and out of sync in a periodic manner. One precession-rational chord is 5:5.4142...:6.8284...:9.2426..., a +(sqrt(2) − 1) +sqrt(2) +(sqrt(2) + 1) chord. | Generalizing, one could consider chords where differences between its frequency deltas (as Tom Price has called them, '''precessions''') are rationally related, while the deltas themselves may not be. This corresponds to chords where differences between various interference beatings go in and out of sync in a periodic manner. One precession-rational chord is 5:5.4142...:6.8284...:9.2426..., a +(sqrt(2) − 1) +sqrt(2) +(sqrt(2) + 1) chord. | ||
Precession being the second-order difference (Δ<sup>2</sup>) of frequency, we similarly have the theoretical notions of Δ<sup>3</sup>-rationality, Δ<sup>4</sup>-rationality, and so on. The practical consequences of higher-order differences are as of yet speculative, though a few people have reported finding precession psychoacoustically meaningful. | Precession being the second-order difference (Δ<sup>2</sup>) of frequency, we similarly have the theoretical notions of Δ<sup>3</sup>-rationality, Δ<sup>4</sup>-rationality, and so on. The practical consequences of higher-order differences are as of yet speculative, though a few people have reported finding precession psychoacoustically meaningful. | ||
==Isodifferential chord== | |||
In an '''isodifferential chord''' (known variously by '''linear chord''', '''equal-hertz chord''', '''equal-beating chord''', and '''proportional-beating chord'''), the frequencies of the pitches are in an arithmetic sequence, or in other words, there is an equal difference in cycles per second between successive pitches. | |||
===Isoharmonic chord=== | |||
An '''isoharmonic chord''' is a specific type of isodifferential chord, where the ratios between the notes are rational numbers, and therefore the chord is in just intonation. Such a chord can be built by successive jumps up the [[harmonic series]] by some number of steps. Since the harmonic series is arranged such that each higher step is smaller than the one before it, all isoharmonic chords have this same shape—with diminishing step size as one ascends. | |||
An isoharmonic "chord" may function more like a "[[scale]]" than a chord (depending on the composition of course), but the word "chord" is used here for consistency. | |||
==== Classification ==== | |||
===== Class i ===== | |||
The simplest isoharmonic chords are built by stepping up the harmonic series by single steps (adjacent steps in the harmonic series). Take, for instance, 4:5:6:7, the harmonic seventh chord. We may call these class i isoharmonic chords. There is one class i series (the harmonic series), which looks like this: | |||
{| class="wikitable" | |||
|- | |||
| | harmonic | |||
| | 1 | |||
| | | |||
| | 2 | |||
| | | |||
| | 3 | |||
| | | |||
| | 4 | |||
| | | |||
| | 5 | |||
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| | 6 | |||
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| | 7 | |||
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| | 8 | |||
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| | 10 | |||
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| | 11 | |||
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| | 12 | |||
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| | 13 | |||
| | | |||
| | 14 | |||
| | | |||
| | 15 | |||
| | | |||
| | 16 | |||
|- | |||
| | cents diff | |||
| | | |||
| | 1200 | |||
| | | |||
| | 702 | |||
| | | |||
| | 498 | |||
| | | |||
| | 386 | |||
| | | |||
| | 316 | |||
| | | |||
| | 267 | |||
| | | |||
| | 231 | |||
| | | |||
| | 204 | |||
| | | |||
| | 182 | |||
| | | |||
| | 165 | |||
| | | |||
| | 151 | |||
| | | |||
| | 139 | |||
| | | |||
| | 128 | |||
| | | |||
| | 119 | |||
| | | |||
| | 112 | |||
| | | |||
|} | |||
Some "scales" built this way: [[otones12-24]], [[otones20-40]]... | |||
===== Class ii ===== | |||
The next simplest isoharmonic chords are built by stepping up the harmonic series by two (skipping every other harmonic). This gives us chords such as 3:5:7:9 (the primary tetrad in the [[BP|Bohlen-Pierce]] tuning system) and 9:11:13:15. Note that if you start on an even number, your chord is equivalent to a class i harmonic chord: 4:6:8:10 = 2:3:4:5. Thus, there is one class ii series (the series of all odd harmonics): | |||
{| class="wikitable" | |||
|- | |||
| | harmonic | |||
| | 1 | |||
| | | |||
| | 3 | |||
| | | |||
| | 5 | |||
| | | |||
| | 7 | |||
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| | 9 | |||
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| | 11 | |||
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| | 13 | |||
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| | 15 | |||
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| | 17 | |||
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| | 19 | |||
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| | 21 | |||
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| | 23 | |||
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| | 25 | |||
| | | |||
| | 27 | |||
| | | |||
| | 29 | |||
| | | |||
| | 31 | |||
|- | |||
| | cents diff | |||
| | | |||
| | 1902 | |||
| | | |||
| | 884 | |||
| | | |||
| | 583 | |||
| | | |||
| | 435 | |||
| | | |||
| | 347 | |||
| | | |||
| | 289 | |||
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| | 248 | |||
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| | 217 | |||
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| | 193 | |||
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| | 173 | |||
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| | 157 | |||
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| | 144 | |||
| | | |||
| | 133 | |||
| | | |||
| | 124 | |||
| | | |||
| | 115 | |||
| | | |||
|} | |||
===== Class iii ===== | |||
Class iii isoharmonic chords are less common and more complex sounding. They include chords such as 7:10:13:16 and 14:17:20:23. Note that if you start on a number divisible by three, you'll again get a chord reducible to class i (e.g. 9:12:15 = 3:4:5). There are two series for class iii: | |||
{| class="wikitable" | |||
|- | |||
| | harmonic | |||
| | 1 | |||
| | | |||
| | 4 | |||
| | | |||
| | 7 | |||
| | | |||
| | 10 | |||
| | | |||
| | 13 | |||
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| | 16 | |||
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| | 19 | |||
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| | 22 | |||
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| | 25 | |||
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| | 28 | |||
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| | 31 | |||
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| | 34 | |||
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| | 37 | |||
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| | 40 | |||
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| | 43 | |||
| | | |||
| | 46 | |||
|- | |||
| | cents diff | |||
| | | |||
| | 2400 | |||
| | | |||
| | 969 | |||
| | | |||
| | 617 | |||
| | | |||
| | 454 | |||
| | | |||
| | 359 | |||
| | | |||
| | 298 | |||
| | | |||
| | 254 | |||
| | | |||
| | 221 | |||
| | | |||
| | 196 | |||
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| | 176 | |||
| | | |||
| | 160 | |||
| | | |||
| | 146 | |||
| | | |||
| | 135 | |||
| | | |||
| | 125 | |||
| | | |||
| | 117 | |||
| | | |||
|} | |||
{| class="wikitable" | |||
|- | |||
| | harmonic | |||
| | 2 | |||
| | | |||
| | 5 | |||
| | | |||
| | 8 | |||
| | | |||
| | 11 | |||
| | | |||
| | 14 | |||
| | | |||
| | 17 | |||
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| | 20 | |||
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| | 23 | |||
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| | 26 | |||
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| | 29 | |||
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| | 32 | |||
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| | 35 | |||
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| | 38 | |||
| | | |||
| | 41 | |||
| | | |||
| | 44 | |||
| | | |||
| | 47 | |||
|- | |||
| | cents diff | |||
| | | |||
| | 1586 | |||
| | | |||
| | 814 | |||
| | | |||
| | 551 | |||
| | | |||
| | 418 | |||
| | | |||
| | 336 | |||
| | | |||
| | 281 | |||
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| | 242 | |||
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| | 212 | |||
| | | |||
| | 189 | |||
| | | |||
| | 170 | |||
| | | |||
| | 155 | |||
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| | 142 | |||
| | | |||
| | 132 | |||
| | | |||
| | 122 | |||
| | | |||
| | 114 | |||
| | | |||
|} | |||
===== Class iv ===== | |||
{| class="wikitable" | |||
|- | |||
| | harmonic | |||
| | 1 | |||
| | | |||
| | 5 | |||
| | | |||
| | 9 | |||
| | | |||
| | 13 | |||
| | | |||
| | 17 | |||
| | | |||
| | 21 | |||
| | | |||
| | 25 | |||
| | | |||
| | 29 | |||
| | | |||
| | 33 | |||
| | | |||
| | 37 | |||
| | | |||
| | 41 | |||
| | | |||
| | 45 | |||
| | | |||
| | 49 | |||
| | | |||
| | 53 | |||
| | | |||
| | 57 | |||
| | | |||
| | 61 | |||
|- | |||
| | cents diff | |||
| | | |||
| | 2786 | |||
| | | |||
| | 1018 | |||
| | | |||
| | 637 | |||
| | | |||
| | 464 | |||
| | | |||
| | 366 | |||
| | | |||
| | 302 | |||
| | | |||
| | 257 | |||
| | | |||
| | 224 | |||
| | | |||
| | 198 | |||
| | | |||
| | 178 | |||
| | | |||
| | 161 | |||
| | | |||
| | 147 | |||
| | | |||
| | 136 | |||
| | | |||
| | 126 | |||
| | | |||
| | 117 | |||
| | | |||
|} | |||
{| class="wikitable" | |||
|- | |||
| | harmonic | |||
| | 3 | |||
| | | |||
| | 7 | |||
| | | |||
| | 11 | |||
| | | |||
| | 15 | |||
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| | 19 | |||
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| | 23 | |||
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| | 27 | |||
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| | 31 | |||
| | | |||
| | 35 | |||
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| | 39 | |||
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| | 43 | |||
| | | |||
| | 47 | |||
| | | |||
| | 51 | |||
| | | |||
| | 55 | |||
| | | |||
| | 59 | |||
| | | |||
| | 63 | |||
|- | |||
| | cents diff | |||
| | | |||
| | 1467 | |||
| | | |||
| | 782 | |||
| | | |||
| | 537 | |||
| | | |||
| | 409 | |||
| | | |||
| | 331 | |||
| | | |||
| | 278 | |||
| | | |||
| | 239 | |||
| | | |||
| | 210 | |||
| | | |||
| | 187 | |||
| | | |||
| | 169 | |||
| | | |||
| | 154 | |||
| | | |||
| | 141 | |||
| | | |||
| | 131 | |||
| | | |||
| | 122 | |||
| | | |||
| | 114 | |||
| | | |||
|} | |||
===== Class v ===== | |||
{| class="wikitable" | |||
|- | |||
| | harmonic | |||
| | 1 | |||
| | | |||
| | 6 | |||
| | | |||
| | 11 | |||
| | | |||
| | 16 | |||
| | | |||
| | 21 | |||
| | | |||
| | 26 | |||
| | | |||
| | 31 | |||
| | | |||
| | 36 | |||
| | | |||
| | 41 | |||
| | | |||
| | 46 | |||
| | | |||
| | 51 | |||
| | | |||
| | 56 | |||
| | | |||
| | 61 | |||
| | | |||
| | 66 | |||
| | | |||
| | 71 | |||
| | | |||
| | 76 | |||
|- | |||
| | cents diff | |||
| | | |||
| | 3102 | |||
| | | |||
| | 1049 | |||
| | | |||
| | 649 | |||
| | | |||
| | 471 | |||
| | | |||
| | 370 | |||
| | | |||
| | 306 | |||
| | | |||
| | 259 | |||
| | | |||
| | 225 | |||
| | | |||
| | 199 | |||
| | | |||
| | 179 | |||
| | | |||
| | 162 | |||
| | | |||
| | 148 | |||
| | | |||
| | 136 | |||
| | | |||
| | 126 | |||
| | | |||
| | 118 | |||
| | | |||
|} | |||
{| class="wikitable" | |||
|- | |||
| | harmonic | |||
| | 2 | |||
| | | |||
| | 7 | |||
| | | |||
| | 12 | |||
| | | |||
| | 17 | |||
| | | |||
| | 22 | |||
| | | |||
| | 27 | |||
| | | |||
| | 32 | |||
| | | |||
| | 37 | |||
| | | |||
| | 42 | |||
| | | |||
| | 47 | |||
| | | |||
| | 52 | |||
| | | |||
| | 57 | |||
| | | |||
| | 62 | |||
| | | |||
| | 67 | |||
| | | |||
| | 72 | |||
| | | |||
| | 77 | |||
|- | |||
| | cents diff | |||
| | | |||
| | 2169 | |||
| | | |||
| | 933 | |||
| | | |||
| | 603 | |||
| | | |||
| | 446 | |||
| | | |||
| | 355 | |||
| | | |||
| | 294 | |||
| | | |||
| | 251 | |||
| | | |||
| | 219 | |||
| | | |||
| | 195 | |||
| | | |||
| | 175 | |||
| | | |||
| | 159 | |||
| | | |||
| | 146 | |||
| | | |||
| | 134 | |||
| | | |||
| | 125 | |||
| | | |||
| | 116 | |||
| | | |||
|} | |||
{| class="wikitable" | |||
|- | |||
| | harmonic | |||
| | 3 | |||
| | | |||
| | 8 | |||
| | | |||
| | 13 | |||
| | | |||
| | 18 | |||
| | | |||
| | 23 | |||
| | | |||
| | 28 | |||
| | | |||
| | 33 | |||
| | | |||
| | 38 | |||
| | | |||
| | 43 | |||
| | | |||
| | 48 | |||
| | | |||
| | 53 | |||
| | | |||
| | 58 | |||
| | | |||
| | 63 | |||
| | | |||
| | 68 | |||
| | | |||
| | 73 | |||
| | | |||
| | 78 | |||
|- | |||
| | cents diff | |||
| | | |||
| | 1698 | |||
| | | |||
| | 841 | |||
| | | |||
| | 563 | |||
| | | |||
| | 424 | |||
| | | |||
| | 341 | |||
| | | |||
| | 284 | |||
| | | |||
| | 244 | |||
| | | |||
| | 214 | |||
| | | |||
| | 190 | |||
| | | |||
| | 172 | |||
| | | |||
| | 156 | |||
| | | |||
| | 143 | |||
| | | |||
| | 132 | |||
| | | |||
| | 123 | |||
| | | |||
| | 115 | |||
| | | |||
|} | |||
{| class="wikitable" | |||
|- | |||
| | harmonic | |||
| | 4 | |||
| | | |||
| | 9 | |||
| | | |||
| | 14 | |||
| | | |||
| | 19 | |||
| | | |||
| | 24 | |||
| | | |||
| | 29 | |||
| | | |||
| | 34 | |||
| | | |||
| | 39 | |||
| | | |||
| | 44 | |||
| | | |||
| | 49 | |||
| | | |||
| | 54 | |||
| | | |||
| | 59 | |||
| | | |||
| | 64 | |||
| | | |||
| | 69 | |||
| | | |||
| | 74 | |||
| | | |||
| | 79 | |||
|- | |||
| | cents diff | |||
| | | |||
| | 1404 | |||
| | | |||
| | 765 | |||
| | | |||
| | 529 | |||
| | | |||
| | 404 | |||
| | | |||
| | 328 | |||
| | | |||
| | 275 | |||
| | | |||
| | 238 | |||
| | | |||
| | 209 | |||
| | | |||
| | 186 | |||
| | | |||
| | 168 | |||
| | | |||
| | 153 | |||
| | | |||
| | 141 | |||
| | | |||
| | 130 | |||
| | | |||
| | 121 | |||
| | | |||
| | 113 | |||
| | | |||
|} | |||
=== Notation === | |||
Some complex isoharmonic chords can be expressed with an offset from a simpler isoharmonic chord, so it is useful to notate them in a compact and readable way. For example, 41:51:61 is very similar to 4:5:6, so it can be notated as (4:5:6)[+0.1]. Similarly, (20:22:24:27:30:33:36)[+0.339] can be expanded to 20339:22339:24339:27339:30339:33339:36339. | |||
Irrational isodifferential chords can be expressed with the same notation by using irrational numbers within the square brackets. For example, the chord (1:2:3)[+φ] can be expanded to (1+φ):(2+φ):(3+φ), which is approximately equal to 1.618:2.618:3.618. | |||
==Categorization of DR chords== | |||
Here is a table which uses the "delta ratio set" — the set of unique [[Undirected_value|undirected ratios]] between the deltas of a chord's delta signature — to categorize chords. | |||
* <b>How to tell a DR chord from a non-DR chord:</b> a DR chord has at least one rational number in its delta ratio set. | |||
* <b>Within DR chords, how to tell an FDR chord from a non-fully DR chord:</b> a FDR chord has <i>only</i> rational numbers in its delta ratio set. | |||
* <b>Within FDR chords, how to tell an isodifferential chord from a non-isodifferential chord:</b> an isodiffential chord has only 1 in its delta ratio set. | |||
All JI chords are FDR chords, because JI chords are rational, and therefore their delta ratio sets will include only rational numbers. | |||
If an FDR chord is both JI and isodifferential, then it is an isoharmonic chord. | |||
{| class="wikitable" | |||
! colspan="4" rowspan="3" |chord type | |||
! colspan="7" rowspan="1" |illustrative examples | |||
|- | |||
! colspan="2" |actual chord | |||
! colspan="3" rowspan="1" |deltas | |||
! colspan="2" |delta ratio set | |||
|- | |||
!frequency ratio | |||
!are items all integers? | |||
!delta signature | |||
!reduced delta signature (class) | |||
!are items all the same? | |||
!unique undirected ratios between the deltas | |||
!are items all rational? | |||
|- | |||
! colspan="1" rowspan="16" |DR | |||
! colspan="1" rowspan="13" |FDR | |||
! colspan="2" rowspan="3" |JI, <i>not</i> isodifferential | |||
|4:5:7:8 | |||
| rowspan="11" |yes, all | |||
| +1+2+1 | |||
| rowspan="2" | +1+2+1 | |||
| rowspan="3" |no, not all | |||
| rowspan="2" |{ 1, 2 } | |||
| rowspan="13" |yes | |||
|- | |||
|3:5:9:11 | |||
| +2+4+2 | |||
|- | |||
|3:4:7:9 | |||
| +1+3+2 | |||
| +1+3+2 | |||
|{ 3/2, 2, 3 } | |||
|- | |||
! rowspan="8" |isoharmonic | |||
(JI <i>and</i> isodifferential) | |||
! rowspan="3" |class i | |||
|4:5:6 | |||
| +1+1 | |||
| +1+1 | |||
| rowspan="10" |yes, all | |||
| rowspan="10" |{ 1 } | |||
|- | |||
|4:5:6:7 | |||
| rowspan="2" | +1+1+1 | |||
| rowspan="9" | +1+1+1 | |||
|- | |||
|3:4:5:6 | |||
|- | |||
! rowspan="2" |class ii | |||
|3:5:7:9 | |||
| rowspan="2" | +2+2+2 | |||
|- | |||
|5:7:9:11 | |||
|- | |||
! rowspan="2" |class iii | |||
|1:4:7:10 | |||
| rowspan="2" | +3+3+3 | |||
|- | |||
|2:5:8:11 | |||
|- | |||
!... | |||
|... | |||
|... | |||
|- | |||
! colspan="2" rowspan="2" |<i>not</i> JI, but isodifferential | |||
|ɸ:(ɸ+1):(ɸ+2):(ɸ+3) | |||
| rowspan="7" |no, not all or none | |||
| +1+1+1 | |||
|- | |||
|1:ɸ:(2ɸ-1):(3ɸ-2) | |||
| +(ɸ-1)+(ɸ-1)+(ɸ-1) | |||
|- | |||
! colspan="3" rowspan="3" |(incompletely) DR | |||
|4:5:τ:7:9 | |||
| +1+(τ-5)+(7-τ)+2 | |||
| +1+(τ-5)+(7-τ)+2 | |||
| rowspan="5" |(irrelevant for categorization) | |||
|{ (7-τ)/(τ-5), 7-τ, τ-5, 2/(τ-5), 2, 2/(7-τ) } | |||
| rowspan="3" |no, but at least one | |||
|- | |||
|5:τ:8:(3+τ) | |||
| +(τ-5)+(8-τ)+(τ-5) | |||
| +1+(8-τ)/(τ-5)+1 | |||
|{ 1, (8-τ)/(τ-5) } | |||
|- | |||
|1:(1+a):(1+a+b):(1+a+2b):(1+3a+2b), with a/b irrational | |||
| +a+b+b+2a | |||
| +a+b+b+2a | |||
|{ a/b, 1, 2, 2a/b } | |||
|- | |||
! colspan="4" rowspan="2" |not DR | |||
|4:5:τ:7 | |||
| +1+(τ-5)+(7-τ) | |||
| +1+(τ-5)+(7-τ) | |||
|{ (7-τ)/(τ-5), 7-τ, τ-5 } | |||
| rowspan="2" |no, none | |||
|- | |||
|5:τ:7 | |||
| +(τ-5)+(7-τ) | |||
| +1+(7-τ)/(τ-5) | |||
|{ (7-τ)/(τ-5) } | |||
|} | |||
[[Category:Chords]] | |||
[[Category:Harmonic]] | |||
[[Category:Lists of scales]] | |||
[[Category:Xenharmonic series]] | |||