Xenharmonic Wiki:Cross-platform dialogue: Difference between revisions

Line 250:

Hello! I'm glad to see that this page exists. I'm a user on Discord who hasn't had much involvement in the previous conversations on this thread, but I'd like to try and work together with the old guard on some of my ideas- if that's even remotely feasible. To start with, I'd like to get some feedback on some of my ideas that I've worked on here on the wiki over the time I've been here, such as [[Alpharabian tuning]], [[telicity]], [[syntonic-rastmic subchroma notation]] and [[User:Aura/Aura's Ideas on Functional Harmony|my own take on microtonal functional harmony]]. Of these, I think telicity might be of the most interest to the old guard, since it's fairly math-heavy. I hope I'm not being a bother. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 11:17, 19 March 2024 (UTC)

== Ranking poll for "good" EDOs from 27 to 140 ==

I thought it might be cool to do a poll to see which of these EDOs people subjectively prefer over others. It's far from all EDOs in the 27 to 140 range; I've picked the ones that seem the most significant theoretically as being worth interest, but if you think something's missing there is an option "[your favourite RTT EDO between 27 and 140 not on this list]" at the bottom of the list. The list is in order of number of notes per octave and I hope that each participant takes the time to sort all EDOs they have opinions on to the top and the bottom; if you're not sure that's why I've provided subgroups in up to the 89-prime-limit, although if you just focus on the 43-prime-limit part that's more reliable and probably a lot more intuitive for appraisal purposes.

If you're wondering "why such a high prime limit"? here's details/explainers of the significance of all primes >43 that I've included:

67/64 = 79.31c (close to 1\15 = 4\60, 2\31 = 4\62, 3\46 and practically exactly 8\121; the harmonic 15 EDOstep),

64/61 = 83.12c (close to 1\14 = 5\70 = 6\84 = 10\140, 2\29 = 4\58 = 6\87, 3\43 and 5\72; almost exactly (4/3)^(1/6) (a third of a semifourth)),

64/59 = 140.83c (close to 2\17 = 4\34 = 8\68, 3\26 = 15\130, 5\43, 7\60, 9\77, 11\94 and 13\111; appears in many systems as (3/2)^(1/5)),

71/64 = 179.7c (close to 3\20 = 12\80 = 21\140 but also a harmonic ~10/9),

73/64 = 227.79c (close to 3\16 = 9\48 = 15\80, 4\21 = 12\63, 7\37 = 14\74 = 21\111 and 11\58 but also the harmonic supermajor second),

64/53 = 326.5c (close to 3\11 = 21\77 = 27\99, 10\37 = 20\74 = 30\111, 13\48, 16\59 = 32\118 and 19\70 = 38\140; this corresponds to a very distinctive size of third between minor and supraminor),

79/64 = 364.54c (close to 3\23 = 6\46 and 10\33 = 30\99 but also the harmonic submajor third),

83/64 = 450.05c (practically 3\8 but also the harmonic semisixth),

89/64 = 570.9c (close to 10\21 = 30\63 and 19\40 = 38\80; like a harmonic analogue of 32/23),

47/32 = 665.51c (close to 5\9 = 15\27 = 20\36 = 35\63 = 40\72 = 50\99; the harmonic wolf fifth / 9 EDO fifth),

and 97/64 = 719.9c (practically 3\5; the harmonic 5 EDO fifth).

As for primes > 13, I highly recommend looking at the [[25-odd-limit]] in all its glory if you are unfamiliar with using primes > 13, but as a quick summary, 17 is notable as introducing subminor ([[17/14]]) and supramajor ([[21/17]]) and neogothic minor ([[20/17]]) and neogothic major ([[51/40]]) and a good approximation of the half-octave of [[17/12]]~[[24/17]] but also for its naturalness as the general-purpose semitone in [[srutal archagall]], 19 introduces the harmonic minor third [[19/16]] between [[6/5]] and [[13/11]], and is close to [[32/27]] (and equated with it in [[nestoria]]), 23 introduces [[23/16]] which is what can be thought of as a harmonic augmented fourth in sharp-fifth systems and a harmonic diminished fifth in flat-fifth systems; it also introduces [[23/20]] which is between supermajor ([[8/7]]) and a semifourth ([[15/13]]), plus two new shades of supraminor third at [[23/19]] and [[28/23]], although the latter is more like a subneutral third, [[29/16]] is notable for being basically free in multiples of [[7edo]] (although is also notable as [[29/23]] approximates 400c reasonably well so [[21edo]] (and therefore [[63edo]] and [[84edo]]) has a good 23:29:32:39 chord for example), [[32/31]] is the subharmonic quarter-tone, [[37/32]] is the harmonic semifourth (implying a fourth around that of [[19edo]], so for higher-accuracy systems it works especially well with dual-semifourths; remarkably [[15/13]] and [[37/32]] are made fourth-complements in the miraculous harmonic series autotuner [[311edo]]), [[41/32]] is the harmonic supermajor third and [[43/32]] is the harmonic perfect fourth (as it approximates [[4/3]] significantly better than [[21/16]] and much better than [[11/8]]).

Ranking poll is here: https://strawpoll.com/6QnMOMP7aZe

@@ Line 250: / Line 250: @@
 Hello!  I'm glad to see that this page exists.  I'm a user on Discord who hasn't had much involvement in the previous conversations on this thread, but I'd like to try and work together with the old guard on some of my ideas- if that's even remotely feasible.  To start with, I'd like to get some feedback on some of my ideas that I've worked on here on the wiki over the time I've been here, such as [[Alpharabian tuning]], [[telicity]], [[syntonic-rastmic subchroma notation]] and [[User:Aura/Aura's Ideas on Functional Harmony|my own take on microtonal functional harmony]].  Of these, I think telicity might be of the most interest to the old guard, since it's fairly math-heavy.  I hope I'm not being a bother. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 11:17, 19 March 2024 (UTC)
+== Ranking poll for "good" EDOs from 27 to 140 ==
+I thought it might be cool to do a poll to see which of these EDOs people subjectively prefer over others. It's far from all EDOs in the 27 to 140 range; I've picked the ones that seem the most significant theoretically as being worth interest, but if you think something's missing there is an option "[your favourite RTT EDO between 27 and 140 not on this list]" at the bottom of the list. The list is in order of number of notes per octave and I hope that each participant takes the time to sort all EDOs they have opinions on to the top and the bottom; if you're not sure that's why I've provided subgroups in up to the 89-prime-limit, although if you just focus on the 43-prime-limit part that's more reliable and probably a lot more intuitive for appraisal purposes.
+If you're wondering "why such a high prime limit"? here's details/explainers of the significance of all primes >43 that I've included:
+/64 = 79.31c (close to 1\15 = 4\60, 2\31 = 4\62, 3\46 and practically exactly 8\121; the harmonic 15 EDOstep),
+/61 = 83.12c (close to 1\14 = 5\70 = 6\84 = 10\140, 2\29 = 4\58 = 6\87, 3\43 and 5\72; almost exactly (4/3)^(1/6) (a third of a semifourth)),
+/59 = 140.83c (close to 2\17 = 4\34 = 8\68, 3\26 = 15\130, 5\43, 7\60, 9\77, 11\94 and 13\111; appears in many systems as (3/2)^(1/5)),
+/64 = 179.7c (close to 3\20 = 12\80 = 21\140 but also a harmonic ~10/9),
+/64 = 227.79c (close to 3\16 = 9\48 = 15\80, 4\21 = 12\63, 7\37 = 14\74 = 21\111 and 11\58 but also the harmonic supermajor second),
+/53 = 326.5c (close to 3\11 = 21\77 = 27\99, 10\37 = 20\74 = 30\111, 13\48, 16\59 = 32\118 and 19\70 = 38\140; this corresponds to a very distinctive size of third between minor and supraminor),
+/64 = 364.54c (close to 3\23 = 6\46 and 10\33 = 30\99 but also the harmonic submajor third),
+/64 = 450.05c (practically 3\8 but also the harmonic semisixth),
+/64 = 570.9c (close to 10\21 = 30\63 and 19\40 = 38\80; like a harmonic analogue of 32/23),
+/32 = 665.51c (close to 5\9 = 15\27 = 20\36 = 35\63 = 40\72 = 50\99; the harmonic wolf fifth / 9 EDO fifth),
+and 97/64 = 719.9c (practically 3\5; the harmonic 5 EDO fifth).
+As for primes > 13, I highly recommend looking at the [[25-odd-limit]] in all its glory if you are unfamiliar with using primes > 13, but as a quick summary, 17 is notable as introducing subminor ([[17/14]]) and supramajor ([[21/17]]) and neogothic minor ([[20/17]]) and neogothic major ([[51/40]]) and a good approximation of the half-octave of [[17/12]]~[[24/17]] but also for its naturalness as the general-purpose semitone in [[srutal archagall]], 19 introduces the harmonic minor third [[19/16]] between [[6/5]] and [[13/11]], and is close to [[32/27]] (and equated with it in [[nestoria]]), 23 introduces [[23/16]] which is what can be thought of as a harmonic augmented fourth in sharp-fifth systems and a harmonic diminished fifth in flat-fifth systems; it also introduces [[23/20]] which is between supermajor ([[8/7]]) and a semifourth ([[15/13]]), plus two new shades of supraminor third at [[23/19]] and [[28/23]], although the latter is more like a subneutral third, [[29/16]] is notable for being basically free in multiples of [[7edo]] (although is also notable as [[29/23]] approximates 400c reasonably well so [[21edo]] (and therefore [[63edo]] and [[84edo]]) has a good 23:29:32:39 chord for example), [[32/31]] is the subharmonic quarter-tone, [[37/32]] is the harmonic semifourth (implying a fourth around that of [[19edo]], so for higher-accuracy systems it works especially well with dual-semifourths; remarkably [[15/13]] and [[37/32]] are made fourth-complements in the miraculous harmonic series autotuner [[311edo]]), [[41/32]] is the harmonic supermajor third and [[43/32]] is the harmonic perfect fourth (as it approximates [[4/3]] significantly better than [[21/16]] and much better than [[11/8]]).
+Ranking poll is here: https://strawpoll.com/6QnMOMP7aZe