Diamond function: Difference between revisions
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=Definition= | =Definition= | ||
Given a collection of notes S, the //diamond// of S, diamond(S), is the set of intervals between those notes, taking the intervals in direct and inverted form, reduced to an octave. For instance, given the notes {1, 3, 5}, diamond({1, 3, 5}) is {1, 6/5, 5/4, 4/3, 3/2, 8/5, 5/3}). The diamond of a set is usually considered in connection with just intonation, in which case S is a set of rational numbers, but it applies to any collection; for instance diamond({0, 400, 700}) where the notes are expressed in cents, is {0, 300, 400, 500, 700, 800, 900}. The important special case where S is the set of odd integers less than or equal to an odd n is called the tonality diamond, and is often taken as the set of theoretical consonances in the n odd limit. This can be justified on the grounds that these are just the intervals appearing in the "chord of nature", or overtone series, hence objecting to 17/16 on the grounds it isn't actually very consonant doesn't take account of the fact that the integers up to 17, a "chord of nature", contain this interval. | Given a collection of notes S, the //diamond// of S, diamond(S), is the set of intervals between those notes, taking the intervals in direct and inverted form, reduced to an octave. For instance, given the notes {1, 3, 5}, diamond({1, 3, 5}) is {1, 6/5, 5/4, 4/3, 3/2, 8/5, 5/3}). The diamond of a set is usually considered in connection with just intonation, in which case S is a set of rational numbers, but it applies to any collection; for instance diamond({0, 400, 700}) where the notes are expressed in cents, is {0, 300, 400, 500, 700, 800, 900}. The important special case where S is the set of odd integers less than or equal to an odd n is called the tonality diamond, and is often taken as the set of theoretical consonances in the n odd limit. This can be justified on the grounds that these are just the intervals appearing in the "chord of nature", or overtone series, hence objecting to 17/16 on the grounds it isn't actually very consonant doesn't take account of the fact that the integers up to 17, a "chord of nature", contain this interval. | ||
The above definition is based on sets, but it is also possible to define diamonds in terms of [[http://en.wikipedia.org/wiki/Multiset|multisets]], which can lead to different results. | |||
=Creating scales= | =Creating scales= | ||
The scale steps of the tonality diamond are superparticular ratios, but they are not very evenly distributed. Filling in the gaps, as Harry Partch did with the 11-limit diamond to create a constant structure for his famous Genesis scale, is one way to go about constructing a just intonation scale. A constant structure is where each occurrence of a ratio will always have the same number of scale steps. While this is not completely possible with the 11-limit diamond, Partch was able to do so except in two places. This makes his 43 tone scale related to a 41 tone constant structure with two alternates. | The scale steps of the tonality diamond are superparticular ratios, but they are not very evenly distributed. Filling in the gaps, as Harry Partch did with the 11-limit diamond to create a constant structure for his famous Genesis scale, is one way to go about constructing a just intonation scale. A constant structure is where each occurrence of a ratio will always have the same number of scale steps. While this is not completely possible with the 11-limit diamond, Partch was able to do so except in two places. This makes his 43 tone scale related to a 41 tone constant structure with two alternates. | ||
The diamond construction can be iterated, giving diamond(diamond(S)), diamond(diamond(diamond(S))), and so forth. As scales, the results are too large for many applications, but iterating the tonality diamonds, or taking its [[Scale products and scale powers|scale powers]], provides a convenient means of obtaining p-limit | |||
intervals, or intervals in a desired [[Just intonation subgroups|JI subgroup]], in abundance. | |||
=Examples of scales= | =Examples of scales= | ||
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Given a collection of notes S, the <em>diamond</em> of S, diamond(S), is the set of intervals between those notes, taking the intervals in direct and inverted form, reduced to an octave. For instance, given the notes {1, 3, 5}, diamond({1, 3, 5}) is {1, 6/5, 5/4, 4/3, 3/2, 8/5, 5/3}). The diamond of a set is usually considered in connection with just intonation, in which case S is a set of rational numbers, but it applies to any collection; for instance diamond({0, 400, 700}) where the notes are expressed in cents, is {0, 300, 400, 500, 700, 800, 900}. The important special case where S is the set of odd integers less than or equal to an odd n is called the tonality diamond, and is often taken as the set of theoretical consonances in the n odd limit. This can be justified on the grounds that these are just the intervals appearing in the &quot;chord of nature&quot;, or overtone series, hence objecting to 17/16 on the grounds it isn't actually very consonant doesn't take account of the fact that the integers up to 17, a &quot;chord of nature&quot;, contain this interval. <br /> | Given a collection of notes S, the <em>diamond</em> of S, diamond(S), is the set of intervals between those notes, taking the intervals in direct and inverted form, reduced to an octave. For instance, given the notes {1, 3, 5}, diamond({1, 3, 5}) is {1, 6/5, 5/4, 4/3, 3/2, 8/5, 5/3}). The diamond of a set is usually considered in connection with just intonation, in which case S is a set of rational numbers, but it applies to any collection; for instance diamond({0, 400, 700}) where the notes are expressed in cents, is {0, 300, 400, 500, 700, 800, 900}. The important special case where S is the set of odd integers less than or equal to an odd n is called the tonality diamond, and is often taken as the set of theoretical consonances in the n odd limit. This can be justified on the grounds that these are just the intervals appearing in the &quot;chord of nature&quot;, or overtone series, hence objecting to 17/16 on the grounds it isn't actually very consonant doesn't take account of the fact that the integers up to 17, a &quot;chord of nature&quot;, contain this interval. <br /> | ||
<br /> | |||
The above definition is based on sets, but it is also possible to define diamonds in terms of <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Multiset" rel="nofollow">multisets</a>, which can lead to different results. <br /> | |||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="Creating scales"></a><!-- ws:end:WikiTextHeadingRule:2 -->Creating scales</h1> | <!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="Creating scales"></a><!-- ws:end:WikiTextHeadingRule:2 -->Creating scales</h1> | ||
The scale steps of the tonality diamond are superparticular ratios, but they are not very evenly distributed. Filling in the gaps, as Harry Partch did with the 11-limit diamond to create a constant structure for his famous Genesis scale, is one way to go about constructing a just intonation scale. A constant structure is where each occurrence of a ratio will always have the same number of scale steps. While this is not completely possible with the 11-limit diamond, Partch was able to do so except in two places. This makes his 43 tone scale related to a 41 tone constant structure with two alternates.<br /> | The scale steps of the tonality diamond are superparticular ratios, but they are not very evenly distributed. Filling in the gaps, as Harry Partch did with the 11-limit diamond to create a constant structure for his famous Genesis scale, is one way to go about constructing a just intonation scale. A constant structure is where each occurrence of a ratio will always have the same number of scale steps. While this is not completely possible with the 11-limit diamond, Partch was able to do so except in two places. This makes his 43 tone scale related to a 41 tone constant structure with two alternates.<br /> | ||
<br /> | |||
The diamond construction can be iterated, giving diamond(diamond(S)), diamond(diamond(diamond(S))), and so forth. As scales, the results are too large for many applications, but iterating the tonality diamonds, or taking its <a class="wiki_link" href="/Scale%20products%20and%20scale%20powers">scale powers</a>, provides a convenient means of obtaining p-limit <br /> | |||
intervals, or intervals in a desired <a class="wiki_link" href="/Just%20intonation%20subgroups">JI subgroup</a>, in abundance.<br /> | |||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Examples of scales"></a><!-- ws:end:WikiTextHeadingRule:4 -->Examples of scales</h1> | <!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="Examples of scales"></a><!-- ws:end:WikiTextHeadingRule:4 -->Examples of scales</h1> | ||