User talk:Aura: Difference between revisions

Line 361:

::: Yes, working with the 11/8 paramajor fourth is inherently weird- it takes either the 16/15 diatonic semitone or the 5/4 major third to set it up, and it really seems to like being a chord root in a 1/1-25/22-14/11-3/2 chord. Have you tried working with this stuff? --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 11:29, 6 April 2025 (UTC)

:::: I haven't worked with it myself, but I am trying to gain an understanding. Obviously it isn't easy -- Ivan Wyschnegradsky and a very few others figured it out, but only a very few others. But you gave me an idea of things to test, with the 1/1-25/22-14/11-3/2 chord. Although keep in mind that in 24edo (which Ivan Wyschnegradsky used most of the time, along with Alois Hába and a few compositions of Charles Ives), 14/11 maps down to the same as 5/4 (8\24) due to 24edo's badly flat 7th harmonic, while 25/22 maps not to the closest interval 9/8 as 4\24, but up to the same as 22/19 as 5\24, because its 5th harmonic is sharp (but not sharp enough for mapping as 25 instead of 5^2). Added: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 19:44, 6 April 2025 (UTC) Last modified: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 20:05, 6 April 2025 (UTC)

:::: I haven't worked with it myself, but I am trying to gain an understanding. Obviously it isn't easy -- Ivan Wyschnegradsky and a very few others figured it out, but only a very few others. But you gave me an idea of things to test, with the 1/1-25/22-14/11-3/2 chord. Although keep in mind that in 24edo (which Ivan Wyschnegradsky used most of the time, along with Alois Hába and a few compositions of Charles Ives), 14/11 maps down to the same as 5/4 (8\24) due to 24edo's badly flat 7th harmonic, while 25/22 maps not to the closest interval 9/8 as 4\24, but up to the same as 22/19 as 5\24, because its 5th harmonic is sharp (but not sharp enough for mapping as 25 instead of 5^2). But then again, I don't know whether Alois Hába or Charles Ives (ore much more recently, Scott Crothers) ever used 11L 2s as opposed to other ways of using 24edo; 11L 2s may be unique to Ivan Wyschnegradsky. Added: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 19:44, 6 April 2025 (UTC) Last modified: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 00:34, 7 April 2025 (UTC)

Revision as of 20:06, 6 April 2025 view source Lucius Chiaraviglio (talk \| contribs) 1,172 edits m →Temperament(s) for Diatonicized Chromaticism?: Fix spelling ← Older edit		Revision as of 00:34, 7 April 2025 view source Lucius Chiaraviglio (talk \| contribs) 1,172 edits →Temperament(s) for Diatonicized Chromaticism?: 11L 2s may be unique to Ivan Wyschnegradsky Newer edit →
Line 361:		Line 361:
	::: Yes, working with the 11/8 paramajor fourth is inherently weird- it takes either the 16/15 diatonic semitone or the 5/4 major third to set it up, and it really seems to like being a chord root in a 1/1-25/22-14/11-3/2 chord. Have you tried working with this stuff? --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 11:29, 6 April 2025 (UTC)		::: Yes, working with the 11/8 paramajor fourth is inherently weird- it takes either the 16/15 diatonic semitone or the 5/4 major third to set it up, and it really seems to like being a chord root in a 1/1-25/22-14/11-3/2 chord. Have you tried working with this stuff? --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 11:29, 6 April 2025 (UTC)

	:::: I haven't worked with it myself, but I am trying to gain an understanding. Obviously it isn't easy -- Ivan Wyschnegradsky and a very few others figured it out, but only a very few others. But you gave me an idea of things to test, with the 1/1-25/22-14/11-3/2 chord. Although keep in mind that in 24edo (which Ivan Wyschnegradsky used most of the time, along with Alois Hába and a few compositions of Charles Ives), 14/11 maps down to the same as 5/4 (8\24) due to 24edo's badly flat 7th harmonic, while 25/22 maps not to the closest interval 9/8 as 4\24, but up to the same as 22/19 as 5\24, because its 5th harmonic is sharp (but not sharp enough for mapping as 25 instead of 5^2). Added: [[User:Lucius Chiaraviglio\|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio\|talk]]) 19:44, 6 April 2025 (UTC) Last modified: [[User:Lucius Chiaraviglio\|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio\|talk]]) 20:05, 6 April 2025 (UTC)		:::: I haven't worked with it myself, but I am trying to gain an understanding. Obviously it isn't easy -- Ivan Wyschnegradsky and a very few others figured it out, but only a very few others. But you gave me an idea of things to test, with the 1/1-25/22-14/11-3/2 chord. Although keep in mind that in 24edo (which Ivan Wyschnegradsky used most of the time, along with Alois Hába and a few compositions of Charles Ives), 14/11 maps down to the same as 5/4 (8\24) due to 24edo's badly flat 7th harmonic, while 25/22 maps not to the closest interval 9/8 as 4\24, but up to the same as 22/19 as 5\24, because its 5th harmonic is sharp (but not sharp enough for mapping as 25 instead of 5^2). But then again, I don't know whether Alois Hába or Charles Ives (ore much more recently, Scott Crothers) ever used 11L 2s as opposed to other ways of using 24edo; 11L 2s may be unique to Ivan Wyschnegradsky. Added: [[User:Lucius Chiaraviglio\|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio\|talk]]) 19:44, 6 April 2025 (UTC) Last modified: [[User:Lucius Chiaraviglio\|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio\|talk]]) 00:34, 7 April 2025 (UTC)