Composing Powerstart: Difference between revisions

<h2>IMPORTED REVISION FROM WIKISPACES</h2>

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<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">//Musicians and composers just getting into the area of microtuning might, in an initial survey of the available resources on tuning around the web, encounter a barrage of intimidating jargon and mathematical concepts. Fortunately, a composer or player need not worry about the math side of things! This article suggests a number of ways to jump right in and start putting the products of tuning theory to work.//

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===Math: Use as much or as little as you'd like===  

2) The people who do care about some of the above, but don't really care about strict full 11-limit harmony or whatever. They might be happy to play around with the 7-limit, but without any prime 5, or the 11-limit without any prime 7, or maybe just a tuning which has good 4:7:9:11 chords but no good 3/1, etc. EDOs which look totally crappy from other perspectives, like 11-EDO, now look amazing to you once you're shown what resources are in them. You'll also like unequal temperaments such as "slendric," existing in 36-EDO, where three 8/7's makes a 3/2, giving you 4:6:7 chords everywhere with no 5.

<h4>Original HTML content:</h4>

<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html">&lt;html&gt;&lt;head&gt;&lt;title&gt;Composing Powerstart&lt;/title&gt;&lt;/head&gt;&lt;body&gt;&lt;em&gt;Musicians and composers just getting into the area of microtuning might, in an initial survey of the available resources on tuning around the web, encounter a barrage of intimidating jargon and mathematical concepts. Fortunately, a composer or player need not worry about the math side of things! This article suggests a number of ways to jump right in and start putting the products of tuning theory to work.&lt;/em&gt;&lt;br /&gt;

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&lt;!-- ws:start:WikiTextHeadingRule:0:&amp;lt;h3&amp;gt; --&gt;&lt;h3 id="toc0"&gt;&lt;a name="x--Math: Use as much or as little as you'd like"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:0 --&gt;Math: Use as much or as little as you'd like&lt;/h3&gt;

2) The people who do care about some of the above, but don't really care about strict full 11-limit harmony or whatever. They might be happy to play around with the 7-limit, but without any prime 5, or the 11-limit without any prime 7, or maybe just a tuning which has good 4:7:9:11 chords but no good 3/1, etc. EDOs which look totally crappy from other perspectives, like 11-EDO, now look amazing to you once you're shown what resources are in them. You'll also like unequal temperaments such as &amp;quot;slendric,&amp;quot; existing in 36-EDO, where three 8/7's makes a 3/2, giving you 4:6:7 chords everywhere with no 5.&lt;br /&gt;

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