Just intonation: Difference between revisions
Jump to navigation
Jump to search
Wikispaces>Andrew_Heathwaite **Imported revision 153886137 - Original comment: ** |
Wikispaces>Andrew_Heathwaite **Imported revision 164916685 - Original comment: ** |
||
| Line 1: | Line 1: | ||
<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2010- | : This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2010-09-23 13:13:05 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>164916685</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
<h4>Original Wikitext content:</h4> | <h4>Original Wikitext 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;white-space: pre-wrap ! important" class="old-revision-html">[[toc|flat]] | <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">[[toc|flat]] | ||
---- | ---- | ||
=Just Intonation explained= | =Just Intonation explained= | ||
Just Intonation describes intervals between pitches by specifying ratios (of [[http://en.wikipedia.org/wiki/Rational_number|rational numbers]]) between the frequencies of pitches. This is sometimes distinguished from //rational intonation// by requiring that the ratios be ones of low complexity (as for example measured by [[Tenney height]]) but there is no clear dividing line. The matter is partially a question of intent. The rank two tuning system in which all intervals are given as combinations of the just perfect fourth, 4/3, and the just minor third, 6/5, would seem to be a nonoctave 5-limit just intonation system by definition. In practice, it can hardly be used except as a rank two 7-limit [[Microtempering|microtempering]] system because of certain very accurate approximations to the octave and to seven limit intervals: (6/5)^2/(4/3) = 27/25, the semitone maximus or just minor second; and (27/25)^9 is less than a cent short of an octave, while (27/25)^2 is almost precisely 7/6, the [[http://en.wikipedia.org/wiki/Septimal_minor_third|septimal minor third]]. | Just Intonation describes [[Gallery of Just Intervals|intervals]] between pitches by specifying ratios (of [[http://en.wikipedia.org/wiki/Rational_number|rational numbers]]) between the frequencies of pitches. This is sometimes distinguished from //rational intonation// by requiring that the ratios be ones of low complexity (as for example measured by [[Tenney height]]) but there is no clear dividing line. The matter is partially a question of intent. The rank two tuning system in which all intervals are given as combinations of the just perfect fourth, 4/3, and the just minor third, 6/5, would seem to be a nonoctave 5-limit just intonation system by definition. In practice, it can hardly be used except as a rank two 7-limit [[Microtempering|microtempering]] system because of certain very accurate approximations to the octave and to seven limit intervals: (6/5)^2/(4/3) = 27/25, the semitone maximus or just minor second; and (27/25)^9 is less than a cent short of an octave, while (27/25)^2 is almost precisely 7/6, the [[http://en.wikipedia.org/wiki/Septimal_minor_third|septimal minor third]]. | ||
If you are used to speaking only in note names, you may need to study the relation between frequency and [[http://en.wikipedia.org/wiki/Pitch_%28music%29|pitch]]. Kyle Gann's //[[http://www.kylegann.com/tuning.html|Just Intonation Explained]]// is one good reference. A transparent illustration and one of just intonation's acoustic bases is the [[OverToneSeries|harmonic series]]. | If you are used to speaking only in note names, you may need to study the relation between frequency and [[http://en.wikipedia.org/wiki/Pitch_%28music%29|pitch]]. Kyle Gann's //[[http://www.kylegann.com/tuning.html|Just Intonation Explained]]// is one good reference. A transparent illustration and one of just intonation's acoustic bases is the [[OverToneSeries|harmonic series]]. | ||
| Line 24: | Line 23: | ||
(In need of a better name maybe) Here are six ways that musicians and theorists have constrained the field of potential just ratios (from Jacques Dudon, "Differential Coherence", //1/1// vol. 11, no. 2: p.1): | (In need of a better name maybe) Here are six ways that musicians and theorists have constrained the field of potential just ratios (from Jacques Dudon, "Differential Coherence", //1/1// vol. 11, no. 2: p.1): | ||
//1. The principle of "[[Harmonic Limit|harmonic limits]]," which sets a threshold in order to place a limit on the largest prime number in any ratio (cf: Tanner's "psycharithmes" and his ordering by complexity; Gioseffe Zarlino's five-limit "senario," and the like; Helmholtz's theory of consonance with its "blending of partials," which, like the others, results in giving priority to the lowest prime numbers). | //1. The principle of "[[Harmonic Limit|harmonic limits]]," which sets a threshold in order to place a limit on the largest prime number in any ratio (cf: Tanner's "psycharithmes" and his ordering by complexity; Gioseffe Zarlino's five-limit "senario," and the like; Helmholtz's theory of consonance with its "blending of partials," which, like the others, results in giving priority to the lowest prime numbers).// | ||
2. Restrictions on the combinations of numbers that make up the numerator and denominator of the ratios under consideration, such as the "monophonic" system of [[http://en.wikipedia.org/wiki/Harry_Partch|Harry Partch]]'s [[http://en.wikipedia.org/wiki/Pitch_%28music%29|tonality diamond]]. This, incidentially, is an eleven-limit system that only makes use of ratios of the form n:d, where n and d are drawn only from harmonics 1,3 5 7 9, 11, or their octaves. | //2. Restrictions on the combinations of numbers that make up the numerator and denominator of the ratios under consideration, such as the "monophonic" system of [[http://en.wikipedia.org/wiki/Harry_Partch|Harry Partch]]'s [[http://en.wikipedia.org/wiki/Pitch_%28music%29|tonality diamond]]. This, incidentially, is an eleven-limit system that only makes use of ratios of the form n:d, where n and d are drawn only from harmonics 1,3 5 7 9, 11, or their octaves.// | ||
3. Other theorists who, in contrast to the above, advocate the use of the [[http://en.wikipedia.org/wiki/Hexany|products]] of a given set of prime numbers, such as Robert Dussaut, [[http://en.wikipedia.org/wiki/Erv_Wilson|Ervin Wilson]], and others. | //3. Other theorists who, in contrast to the above, advocate the use of the [[http://en.wikipedia.org/wiki/Hexany|products]] of a given set of prime numbers, such as Robert Dussaut, [[http://en.wikipedia.org/wiki/Erv_Wilson|Ervin Wilson]], and others.// | ||
4. [[Just intonation subgroups|Restrictions on the variety of prime numbers]] used within a system, for example, 3 used with only one [sic, also included is 2] other prime 7, 11, or 13.... This is quite common practice with Ptolemy, Ibn-Sina, Al-Farabi, and Saf-al-Din, and with numerous contemporary composers working in Just Intonation. | //4. [[Just intonation subgroups|Restrictions on the variety of prime numbers]] used within a system, for example, 3 used with only one [sic, also included is 2] other prime 7, 11, or 13.... This is quite common practice with Ptolemy, Ibn-Sina, Al-Farabi, and Saf-al-Din, and with numerous contemporary composers working in Just Intonation.// | ||
5. Restricting the denominator to one or very few values (the [[OverToneSeries|harmonic series]]). | //5. Restricting the denominator to one or very few values (the [[OverToneSeries|harmonic series]]).// | ||
6. Restricting the numerator to one or a very few values (the [[subharmonic series]] or [[aliquot scales]]).// | //6. Restricting the numerator to one or a very few values (the [[subharmonic series]] or [[aliquot scales]]).// | ||
=Just Intonation Propaganda?= | =Just Intonation Propaganda?= | ||
| Line 55: | Line 54: | ||
[[Arnold Dreyblatt]] | [[Arnold Dreyblatt]] | ||
[[Gallery of pentatonics]] | [[Gallery of pentatonics]] | ||
[[FiniteSubsetJI]]</pre></div> | [[FiniteSubsetJI]] | ||
See also: [[Gallery of Just Intervals]]</pre></div> | |||
<h4>Original HTML content:</h4> | <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"><html><head><title>Just intonation</title></head><body><!-- ws:start:WikiTextTocRule:16:&lt;img id=&quot;wikitext@@toc@@flat&quot; class=&quot;WikiMedia WikiMediaTocFlat&quot; title=&quot;Table of Contents&quot; src=&quot;/site/embedthumbnail/toc/flat?w=100&amp;h=16&quot;/&gt; --><!-- ws:end:WikiTextTocRule:16 --><!-- ws:start:WikiTextTocRule:17: --><a href="#Just Intonation explained">Just Intonation explained</a><!-- ws:end:WikiTextTocRule:17 --><!-- ws:start:WikiTextTocRule:18: --> | <a href="#Just Intonation used">Just Intonation used</a><!-- ws:end:WikiTextTocRule:18 --><!-- ws:start:WikiTextTocRule:19: --><!-- ws:end:WikiTextTocRule:19 --><!-- ws:start:WikiTextTocRule:20: --> | <a href="#toc3"> </a><!-- ws:end:WikiTextTocRule:20 --><!-- ws:start:WikiTextTocRule:21: --><!-- ws:end:WikiTextTocRule:21 --><!-- ws:start:WikiTextTocRule:22: --> | <a href="#Just Intonation Propaganda?">Just Intonation Propaganda?</a><!-- ws:end:WikiTextTocRule:22 --><!-- ws:start:WikiTextTocRule:23: --> | <a href="#Variations on 'Just'">Variations on 'Just'</a><!-- ws:end:WikiTextTocRule:23 --><!-- ws:start:WikiTextTocRule:24: --> | <a href="#Scalesmith's gallery of Just Intonation scales">Scalesmith's gallery of Just Intonation scales</a><!-- ws:end:WikiTextTocRule:24 --><!-- ws:start:WikiTextTocRule:25: --> | <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"><html><head><title>Just intonation</title></head><body><!-- ws:start:WikiTextTocRule:16:&lt;img id=&quot;wikitext@@toc@@flat&quot; class=&quot;WikiMedia WikiMediaTocFlat&quot; title=&quot;Table of Contents&quot; src=&quot;/site/embedthumbnail/toc/flat?w=100&amp;h=16&quot;/&gt; --><!-- ws:end:WikiTextTocRule:16 --><!-- ws:start:WikiTextTocRule:17: --><a href="#Just Intonation explained">Just Intonation explained</a><!-- ws:end:WikiTextTocRule:17 --><!-- ws:start:WikiTextTocRule:18: --> | <a href="#Just Intonation used">Just Intonation used</a><!-- ws:end:WikiTextTocRule:18 --><!-- ws:start:WikiTextTocRule:19: --><!-- ws:end:WikiTextTocRule:19 --><!-- ws:start:WikiTextTocRule:20: --> | <a href="#toc3"> </a><!-- ws:end:WikiTextTocRule:20 --><!-- ws:start:WikiTextTocRule:21: --><!-- ws:end:WikiTextTocRule:21 --><!-- ws:start:WikiTextTocRule:22: --> | <a href="#Just Intonation Propaganda?">Just Intonation Propaganda?</a><!-- ws:end:WikiTextTocRule:22 --><!-- ws:start:WikiTextTocRule:23: --> | <a href="#Variations on 'Just'">Variations on 'Just'</a><!-- ws:end:WikiTextTocRule:23 --><!-- ws:start:WikiTextTocRule:24: --> | <a href="#Scalesmith's gallery of Just Intonation scales">Scalesmith's gallery of Just Intonation scales</a><!-- ws:end:WikiTextTocRule:24 --><!-- ws:start:WikiTextTocRule:25: --> | ||
<!-- ws:end:WikiTextTocRule:25 --> | <!-- ws:end:WikiTextTocRule:25 --><hr /> | ||
<hr /> | |||
<!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Just Intonation explained"></a><!-- ws:end:WikiTextHeadingRule:0 -->Just Intonation explained</h1> | <!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Just Intonation explained"></a><!-- ws:end:WikiTextHeadingRule:0 -->Just Intonation explained</h1> | ||
Just Intonation describes intervals between pitches by specifying ratios (of <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Rational_number" rel="nofollow">rational numbers</a>) between the frequencies of pitches. This is sometimes distinguished from <em>rational intonation</em> by requiring that the ratios be ones of low complexity (as for example measured by <a class="wiki_link" href="/Tenney%20height">Tenney height</a>) but there is no clear dividing line. The matter is partially a question of intent. The rank two tuning system in which all intervals are given as combinations of the just perfect fourth, 4/3, and the just minor third, 6/5, would seem to be a nonoctave 5-limit just intonation system by definition. In practice, it can hardly be used except as a rank two 7-limit <a class="wiki_link" href="/Microtempering">microtempering</a> system because of certain very accurate approximations to the octave and to seven limit intervals: (6/5)^2/(4/3) = 27/25, the semitone maximus or just minor second; and (27/25)^9 is less than a cent short of an octave, while (27/25)^2 is almost precisely 7/6, the <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Septimal_minor_third" rel="nofollow">septimal minor third</a>.<br /> | Just Intonation describes <a class="wiki_link" href="/Gallery%20of%20Just%20Intervals">intervals</a> between pitches by specifying ratios (of <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Rational_number" rel="nofollow">rational numbers</a>) between the frequencies of pitches. This is sometimes distinguished from <em>rational intonation</em> by requiring that the ratios be ones of low complexity (as for example measured by <a class="wiki_link" href="/Tenney%20height">Tenney height</a>) but there is no clear dividing line. The matter is partially a question of intent. The rank two tuning system in which all intervals are given as combinations of the just perfect fourth, 4/3, and the just minor third, 6/5, would seem to be a nonoctave 5-limit just intonation system by definition. In practice, it can hardly be used except as a rank two 7-limit <a class="wiki_link" href="/Microtempering">microtempering</a> system because of certain very accurate approximations to the octave and to seven limit intervals: (6/5)^2/(4/3) = 27/25, the semitone maximus or just minor second; and (27/25)^9 is less than a cent short of an octave, while (27/25)^2 is almost precisely 7/6, the <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Septimal_minor_third" rel="nofollow">septimal minor third</a>.<br /> | ||
<br /> | <br /> | ||
If you are used to speaking only in note names, you may need to study the relation between frequency and <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Pitch_%28music%29" rel="nofollow">pitch</a>. Kyle Gann's <em><a class="wiki_link_ext" href="http://www.kylegann.com/tuning.html" rel="nofollow">Just Intonation Explained</a></em> is one good reference. A transparent illustration and one of just intonation's acoustic bases is the <a class="wiki_link" href="/OverToneSeries">harmonic series</a>.<br /> | If you are used to speaking only in note names, you may need to study the relation between frequency and <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Pitch_%28music%29" rel="nofollow">pitch</a>. Kyle Gann's <em><a class="wiki_link_ext" href="http://www.kylegann.com/tuning.html" rel="nofollow">Just Intonation Explained</a></em> is one good reference. A transparent illustration and one of just intonation's acoustic bases is the <a class="wiki_link" href="/OverToneSeries">harmonic series</a>.<br /> | ||
| Line 75: | Line 75: | ||
(In need of a better name maybe) Here are six ways that musicians and theorists have constrained the field of potential just ratios (from Jacques Dudon, &quot;Differential Coherence&quot;, <em>1/1</em> vol. 11, no. 2: p.1):<br /> | (In need of a better name maybe) Here are six ways that musicians and theorists have constrained the field of potential just ratios (from Jacques Dudon, &quot;Differential Coherence&quot;, <em>1/1</em> vol. 11, no. 2: p.1):<br /> | ||
<br /> | <br /> | ||
<em>1. The principle of &quot;<a class="wiki_link" href="/Harmonic%20Limit">harmonic limits</a>,&quot; which sets a threshold in order to place a limit on the largest prime number in any ratio (cf: Tanner's &quot;psycharithmes&quot; and his ordering by complexity; Gioseffe Zarlino's five-limit &quot;senario,&quot; and the like; Helmholtz's theory of consonance with its &quot;blending of partials,&quot; which, like the others, results in giving priority to the lowest prime numbers).<br /> | <em>1. The principle of &quot;<a class="wiki_link" href="/Harmonic%20Limit">harmonic limits</a>,&quot; which sets a threshold in order to place a limit on the largest prime number in any ratio (cf: Tanner's &quot;psycharithmes&quot; and his ordering by complexity; Gioseffe Zarlino's five-limit &quot;senario,&quot; and the like; Helmholtz's theory of consonance with its &quot;blending of partials,&quot; which, like the others, results in giving priority to the lowest prime numbers).</em><br /> | ||
<br /> | <br /> | ||
2. Restrictions on the combinations of numbers that make up the numerator and denominator of the ratios under consideration, such as the &quot;monophonic&quot; system of <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Harry_Partch" rel="nofollow">Harry Partch</a>'s <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Pitch_%28music%29" rel="nofollow">tonality diamond</a>. This, incidentially, is an eleven-limit system that only makes use of ratios of the form n:d, where n and d are drawn only from harmonics 1,3 5 7 9, 11, or their octaves.<br /> | <em>2. Restrictions on the combinations of numbers that make up the numerator and denominator of the ratios under consideration, such as the &quot;monophonic&quot; system of <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Harry_Partch" rel="nofollow">Harry Partch</a>'s <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Pitch_%28music%29" rel="nofollow">tonality diamond</a>. This, incidentially, is an eleven-limit system that only makes use of ratios of the form n:d, where n and d are drawn only from harmonics 1,3 5 7 9, 11, or their octaves.</em><br /> | ||
<br /> | <br /> | ||
3. Other theorists who, in contrast to the above, advocate the use of the <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Hexany" rel="nofollow">products</a> of a given set of prime numbers, such as Robert Dussaut, <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Erv_Wilson" rel="nofollow">Ervin Wilson</a>, and others.<br /> | <em>3. Other theorists who, in contrast to the above, advocate the use of the <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Hexany" rel="nofollow">products</a> of a given set of prime numbers, such as Robert Dussaut, <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Erv_Wilson" rel="nofollow">Ervin Wilson</a>, and others.</em><br /> | ||
<br /> | <br /> | ||
4. <a class="wiki_link" href="/Just%20intonation%20subgroups">Restrictions on the variety of prime numbers</a> used within a system, for example, 3 used with only one [sic, also included is 2] other prime 7, 11, or 13.... This is quite common practice with Ptolemy, Ibn-Sina, Al-Farabi, and Saf-al-Din, and with numerous contemporary composers working in Just Intonation.<br /> | <em>4. <a class="wiki_link" href="/Just%20intonation%20subgroups">Restrictions on the variety of prime numbers</a> used within a system, for example, 3 used with only one [sic, also included is 2] other prime 7, 11, or 13.... This is quite common practice with Ptolemy, Ibn-Sina, Al-Farabi, and Saf-al-Din, and with numerous contemporary composers working in Just Intonation.</em><br /> | ||
<br /> | <br /> | ||
5. Restricting the denominator to one or very few values (the <a class="wiki_link" href="/OverToneSeries">harmonic series</a>).<br /> | <em>5. Restricting the denominator to one or very few values (the <a class="wiki_link" href="/OverToneSeries">harmonic series</a>).</em><br /> | ||
<br /> | <br /> | ||
6. Restricting the numerator to one or a very few values (the <a class="wiki_link" href="/subharmonic%20series">subharmonic series</a> or <a class="wiki_link" href="/aliquot%20scales">aliquot scales</a>).</em><br /> | <em>6. Restricting the numerator to one or a very few values (the <a class="wiki_link" href="/subharmonic%20series">subharmonic series</a> or <a class="wiki_link" href="/aliquot%20scales">aliquot scales</a>).</em><br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:10:&lt;h1&gt; --><h1 id="toc5"><a name="Just Intonation Propaganda?"></a><!-- ws:end:WikiTextHeadingRule:10 -->Just Intonation Propaganda?</h1> | <!-- ws:start:WikiTextHeadingRule:10:&lt;h1&gt; --><h1 id="toc5"><a name="Just Intonation Propaganda?"></a><!-- ws:end:WikiTextHeadingRule:10 -->Just Intonation Propaganda?</h1> | ||
| Line 106: | Line 106: | ||
<a class="wiki_link" href="/Arnold%20Dreyblatt">Arnold Dreyblatt</a><br /> | <a class="wiki_link" href="/Arnold%20Dreyblatt">Arnold Dreyblatt</a><br /> | ||
<a class="wiki_link" href="/Gallery%20of%20pentatonics">Gallery of pentatonics</a><br /> | <a class="wiki_link" href="/Gallery%20of%20pentatonics">Gallery of pentatonics</a><br /> | ||
<a class="wiki_link" href="/FiniteSubsetJI">FiniteSubsetJI</a></body></html></pre></div> | <a class="wiki_link" href="/FiniteSubsetJI">FiniteSubsetJI</a><br /> | ||
<br /> | |||
See also: <a class="wiki_link" href="/Gallery%20of%20Just%20Intervals">Gallery of Just Intervals</a></body></html></pre></div> | |||
Revision as of 13:13, 23 September 2010
IMPORTED REVISION FROM WIKISPACES
This is an imported revision from Wikispaces. The revision metadata is included below for reference:
- This revision was by author Andrew_Heathwaite and made on 2010-09-23 13:13:05 UTC.
- The original revision id was 164916685.
- The revision comment was:
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.
Original Wikitext content:
[[toc|flat]] ---- =Just Intonation explained= Just Intonation describes [[Gallery of Just Intervals|intervals]] between pitches by specifying ratios (of [[http://en.wikipedia.org/wiki/Rational_number|rational numbers]]) between the frequencies of pitches. This is sometimes distinguished from //rational intonation// by requiring that the ratios be ones of low complexity (as for example measured by [[Tenney height]]) but there is no clear dividing line. The matter is partially a question of intent. The rank two tuning system in which all intervals are given as combinations of the just perfect fourth, 4/3, and the just minor third, 6/5, would seem to be a nonoctave 5-limit just intonation system by definition. In practice, it can hardly be used except as a rank two 7-limit [[Microtempering|microtempering]] system because of certain very accurate approximations to the octave and to seven limit intervals: (6/5)^2/(4/3) = 27/25, the semitone maximus or just minor second; and (27/25)^9 is less than a cent short of an octave, while (27/25)^2 is almost precisely 7/6, the [[http://en.wikipedia.org/wiki/Septimal_minor_third|septimal minor third]]. If you are used to speaking only in note names, you may need to study the relation between frequency and [[http://en.wikipedia.org/wiki/Pitch_%28music%29|pitch]]. Kyle Gann's //[[http://www.kylegann.com/tuning.html|Just Intonation Explained]]// is one good reference. A transparent illustration and one of just intonation's acoustic bases is the [[OverToneSeries|harmonic series]]. =Just Intonation used= The use of just intonation could be divided into these two flavors: ==Free Style Just== = = Lou Harrison used this term; it means that you choose just-intonation pitches, from the set of all possible just intervals (not from a mode or scale), as you use them in music. Dedicated page -> [[FreeStyleJI]] ==Constrained Just== (In need of a better name maybe) Here are six ways that musicians and theorists have constrained the field of potential just ratios (from Jacques Dudon, "Differential Coherence", //1/1// vol. 11, no. 2: p.1): //1. The principle of "[[Harmonic Limit|harmonic limits]]," which sets a threshold in order to place a limit on the largest prime number in any ratio (cf: Tanner's "psycharithmes" and his ordering by complexity; Gioseffe Zarlino's five-limit "senario," and the like; Helmholtz's theory of consonance with its "blending of partials," which, like the others, results in giving priority to the lowest prime numbers).// //2. Restrictions on the combinations of numbers that make up the numerator and denominator of the ratios under consideration, such as the "monophonic" system of [[http://en.wikipedia.org/wiki/Harry_Partch|Harry Partch]]'s [[http://en.wikipedia.org/wiki/Pitch_%28music%29|tonality diamond]]. This, incidentially, is an eleven-limit system that only makes use of ratios of the form n:d, where n and d are drawn only from harmonics 1,3 5 7 9, 11, or their octaves.// //3. Other theorists who, in contrast to the above, advocate the use of the [[http://en.wikipedia.org/wiki/Hexany|products]] of a given set of prime numbers, such as Robert Dussaut, [[http://en.wikipedia.org/wiki/Erv_Wilson|Ervin Wilson]], and others.// //4. [[Just intonation subgroups|Restrictions on the variety of prime numbers]] used within a system, for example, 3 used with only one [sic, also included is 2] other prime 7, 11, or 13.... This is quite common practice with Ptolemy, Ibn-Sina, Al-Farabi, and Saf-al-Din, and with numerous contemporary composers working in Just Intonation.// //5. Restricting the denominator to one or very few values (the [[OverToneSeries|harmonic series]]).// //6. Restricting the numerator to one or a very few values (the [[subharmonic series]] or [[aliquot scales]]).// =Just Intonation Propaganda?= Some people feel that there is a certain amount of ideological and propagandistic baggage associated to just intonation, and indeed some people do become infuriated when it is pointed out that the line between JI and non-JI is fuzzy or that [[Microtempering|microtempering]] sounds like JI. There is more than pig-headedness or quasi-religious sentiment involved in such responses, however, as the low prime limit rational numbers have a structure to them which can be grasped and employed by the composer. JI proponents are often reacting against promoters of equal temperament, especially 12-et, who often seem to feel that concern about close approximation to just intervals gets in the way of music. =Variations on 'Just'= [[Regular Temperaments]] are just intonation systems of various [[harmonic limits]] with certain commas 'tempered out' [[AdaptiveJI|Adaptive JI]] **Broken** links to JI theory pages on [[http://moinmoin.riters.com/microtonal|another microtonal wiki]], which await transfer to this wiki: [[http://moinmoin.riters.com/microtonal/index.cgi/58Note11LimitJI|58 note 11 limit JI]] - hyper-Partchian! [[http://moinmoin.riters.com/microtonal/index.cgi/Reduction|Reduction]] [[http://moinmoin.riters.com/microtonal/index.cgi/Comma_20sequences|Comma sequences]] [[http://moinmoin.riters.com/microtonal/index.cgi/Hahn_20distance|Hahn distance]] =Scalesmith's gallery of Just Intonation scales= [[Gallery of 12-tone Just Intonation Scales]] [[boogiewoogiescale|Boogie woogie scale]] [[Arnold Dreyblatt]] [[Gallery of pentatonics]] [[FiniteSubsetJI]] See also: [[Gallery of Just Intervals]]
Original HTML content:
<html><head><title>Just intonation</title></head><body><!-- ws:start:WikiTextTocRule:16:<img id="wikitext@@toc@@flat" class="WikiMedia WikiMediaTocFlat" title="Table of Contents" src="/site/embedthumbnail/toc/flat?w=100&h=16"/> --><!-- ws:end:WikiTextTocRule:16 --><!-- ws:start:WikiTextTocRule:17: --><a href="#Just Intonation explained">Just Intonation explained</a><!-- ws:end:WikiTextTocRule:17 --><!-- ws:start:WikiTextTocRule:18: --> | <a href="#Just Intonation used">Just Intonation used</a><!-- ws:end:WikiTextTocRule:18 --><!-- ws:start:WikiTextTocRule:19: --><!-- ws:end:WikiTextTocRule:19 --><!-- ws:start:WikiTextTocRule:20: --> | <a href="#toc3"> </a><!-- ws:end:WikiTextTocRule:20 --><!-- ws:start:WikiTextTocRule:21: --><!-- ws:end:WikiTextTocRule:21 --><!-- ws:start:WikiTextTocRule:22: --> | <a href="#Just Intonation Propaganda?">Just Intonation Propaganda?</a><!-- ws:end:WikiTextTocRule:22 --><!-- ws:start:WikiTextTocRule:23: --> | <a href="#Variations on 'Just'">Variations on 'Just'</a><!-- ws:end:WikiTextTocRule:23 --><!-- ws:start:WikiTextTocRule:24: --> | <a href="#Scalesmith's gallery of Just Intonation scales">Scalesmith's gallery of Just Intonation scales</a><!-- ws:end:WikiTextTocRule:24 --><!-- ws:start:WikiTextTocRule:25: --> <!-- ws:end:WikiTextTocRule:25 --><hr /> <!-- ws:start:WikiTextHeadingRule:0:<h1> --><h1 id="toc0"><a name="Just Intonation explained"></a><!-- ws:end:WikiTextHeadingRule:0 -->Just Intonation explained</h1> Just Intonation describes <a class="wiki_link" href="/Gallery%20of%20Just%20Intervals">intervals</a> between pitches by specifying ratios (of <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Rational_number" rel="nofollow">rational numbers</a>) between the frequencies of pitches. This is sometimes distinguished from <em>rational intonation</em> by requiring that the ratios be ones of low complexity (as for example measured by <a class="wiki_link" href="/Tenney%20height">Tenney height</a>) but there is no clear dividing line. The matter is partially a question of intent. The rank two tuning system in which all intervals are given as combinations of the just perfect fourth, 4/3, and the just minor third, 6/5, would seem to be a nonoctave 5-limit just intonation system by definition. In practice, it can hardly be used except as a rank two 7-limit <a class="wiki_link" href="/Microtempering">microtempering</a> system because of certain very accurate approximations to the octave and to seven limit intervals: (6/5)^2/(4/3) = 27/25, the semitone maximus or just minor second; and (27/25)^9 is less than a cent short of an octave, while (27/25)^2 is almost precisely 7/6, the <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Septimal_minor_third" rel="nofollow">septimal minor third</a>.<br /> <br /> If you are used to speaking only in note names, you may need to study the relation between frequency and <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Pitch_%28music%29" rel="nofollow">pitch</a>. Kyle Gann's <em><a class="wiki_link_ext" href="http://www.kylegann.com/tuning.html" rel="nofollow">Just Intonation Explained</a></em> is one good reference. A transparent illustration and one of just intonation's acoustic bases is the <a class="wiki_link" href="/OverToneSeries">harmonic series</a>.<br /> <br /> <!-- ws:start:WikiTextHeadingRule:2:<h1> --><h1 id="toc1"><a name="Just Intonation used"></a><!-- ws:end:WikiTextHeadingRule:2 -->Just Intonation used</h1> The use of just intonation could be divided into these two flavors:<br /> <br /> <!-- ws:start:WikiTextHeadingRule:4:<h2> --><h2 id="toc2"><a name="Just Intonation used-Free Style Just"></a><!-- ws:end:WikiTextHeadingRule:4 -->Free Style Just</h2> <!-- ws:start:WikiTextHeadingRule:6:<h1> --><h1 id="toc3"><!-- ws:end:WikiTextHeadingRule:6 --> </h1> Lou Harrison used this term; it means that you choose just-intonation pitches, from the set of all possible just intervals (not from a mode or scale), as you use them in music. Dedicated page -> <a class="wiki_link" href="/FreeStyleJI">FreeStyleJI</a><br /> <br /> <!-- ws:start:WikiTextHeadingRule:8:<h2> --><h2 id="toc4"><a name="Just Intonation used-Constrained Just"></a><!-- ws:end:WikiTextHeadingRule:8 -->Constrained Just</h2> (In need of a better name maybe) Here are six ways that musicians and theorists have constrained the field of potential just ratios (from Jacques Dudon, "Differential Coherence", <em>1/1</em> vol. 11, no. 2: p.1):<br /> <br /> <em>1. The principle of "<a class="wiki_link" href="/Harmonic%20Limit">harmonic limits</a>," which sets a threshold in order to place a limit on the largest prime number in any ratio (cf: Tanner's "psycharithmes" and his ordering by complexity; Gioseffe Zarlino's five-limit "senario," and the like; Helmholtz's theory of consonance with its "blending of partials," which, like the others, results in giving priority to the lowest prime numbers).</em><br /> <br /> <em>2. Restrictions on the combinations of numbers that make up the numerator and denominator of the ratios under consideration, such as the "monophonic" system of <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Harry_Partch" rel="nofollow">Harry Partch</a>'s <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Pitch_%28music%29" rel="nofollow">tonality diamond</a>. This, incidentially, is an eleven-limit system that only makes use of ratios of the form n:d, where n and d are drawn only from harmonics 1,3 5 7 9, 11, or their octaves.</em><br /> <br /> <em>3. Other theorists who, in contrast to the above, advocate the use of the <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Hexany" rel="nofollow">products</a> of a given set of prime numbers, such as Robert Dussaut, <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Erv_Wilson" rel="nofollow">Ervin Wilson</a>, and others.</em><br /> <br /> <em>4. <a class="wiki_link" href="/Just%20intonation%20subgroups">Restrictions on the variety of prime numbers</a> used within a system, for example, 3 used with only one [sic, also included is 2] other prime 7, 11, or 13.... This is quite common practice with Ptolemy, Ibn-Sina, Al-Farabi, and Saf-al-Din, and with numerous contemporary composers working in Just Intonation.</em><br /> <br /> <em>5. Restricting the denominator to one or very few values (the <a class="wiki_link" href="/OverToneSeries">harmonic series</a>).</em><br /> <br /> <em>6. Restricting the numerator to one or a very few values (the <a class="wiki_link" href="/subharmonic%20series">subharmonic series</a> or <a class="wiki_link" href="/aliquot%20scales">aliquot scales</a>).</em><br /> <br /> <!-- ws:start:WikiTextHeadingRule:10:<h1> --><h1 id="toc5"><a name="Just Intonation Propaganda?"></a><!-- ws:end:WikiTextHeadingRule:10 -->Just Intonation Propaganda?</h1> <br /> Some people feel that there is a certain amount of ideological and propagandistic baggage associated to just intonation, and indeed some people do become infuriated when it is pointed out that the line between JI and non-JI is fuzzy or that <a class="wiki_link" href="/Microtempering">microtempering</a> sounds like JI. There is more than pig-headedness or quasi-religious sentiment involved in such responses, however, as the low prime limit rational numbers have a structure to them which can be grasped and employed by the composer. JI proponents are often reacting against promoters of equal temperament, especially 12-et, who often seem to feel that concern about close approximation to just intervals gets in the way of music.<br /> <br /> <!-- ws:start:WikiTextHeadingRule:12:<h1> --><h1 id="toc6"><a name="Variations on 'Just'"></a><!-- ws:end:WikiTextHeadingRule:12 -->Variations on 'Just'</h1> <a class="wiki_link" href="/Regular%20Temperaments">Regular Temperaments</a> are just intonation systems of various <a class="wiki_link" href="/harmonic%20limits">harmonic limits</a> with certain commas 'tempered out'<br /> <a class="wiki_link" href="/AdaptiveJI">Adaptive JI</a><br /> <br /> <strong>Broken</strong> links to JI theory pages on <a class="wiki_link_ext" href="http://moinmoin.riters.com/microtonal" rel="nofollow">another microtonal wiki</a>, which await transfer to this wiki:<br /> <a class="wiki_link_ext" href="http://moinmoin.riters.com/microtonal/index.cgi/58Note11LimitJI" rel="nofollow">58 note 11 limit JI</a> - hyper-Partchian!<br /> <a class="wiki_link_ext" href="http://moinmoin.riters.com/microtonal/index.cgi/Reduction" rel="nofollow">Reduction</a><br /> <a class="wiki_link_ext" href="http://moinmoin.riters.com/microtonal/index.cgi/Comma_20sequences" rel="nofollow">Comma sequences</a><br /> <a class="wiki_link_ext" href="http://moinmoin.riters.com/microtonal/index.cgi/Hahn_20distance" rel="nofollow">Hahn distance</a><br /> <br /> <!-- ws:start:WikiTextHeadingRule:14:<h1> --><h1 id="toc7"><a name="Scalesmith's gallery of Just Intonation scales"></a><!-- ws:end:WikiTextHeadingRule:14 -->Scalesmith's gallery of Just Intonation scales</h1> <a class="wiki_link" href="/Gallery%20of%2012-tone%20Just%20Intonation%20Scales">Gallery of 12-tone Just Intonation Scales</a><br /> <a class="wiki_link" href="/boogiewoogiescale">Boogie woogie scale</a><br /> <a class="wiki_link" href="/Arnold%20Dreyblatt">Arnold Dreyblatt</a><br /> <a class="wiki_link" href="/Gallery%20of%20pentatonics">Gallery of pentatonics</a><br /> <a class="wiki_link" href="/FiniteSubsetJI">FiniteSubsetJI</a><br /> <br /> See also: <a class="wiki_link" href="/Gallery%20of%20Just%20Intervals">Gallery of Just Intervals</a></body></html>