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| <h2>IMPORTED REVISION FROM WIKISPACES</h2>
| | [[Lou_Harrison|Lou Harrison]] invented this term from a technique he applied first in the middle section of his piece "[http://www.cdbaby.com/cd/pitchrecs3 At The Tomb of Charles Ives] "; Instead of working with a set of fixed pitches, his concept was instead to use a set of fixed intervals regardless where this lead one. [[David_Doty|David Doty]] realized a midi version of a Symphony in Free Style That Mr. Harrison wrote. |
| This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
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| : This revision was by author [[User:daveryan23|daveryan23]] and made on <tt>2017-02-02 07:59:28 UTC</tt>.<br>
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| : The original revision id was <tt>605321891</tt>.<br>
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| : The revision comment was: <tt></tt><br>
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| The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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| <h4>Original Wikitext content:</h4>
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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">[[Lou Harrison]] invented this term from a technique he applied first in the middle section of his piece "[[http://www.cdbaby.com/cd/pitchrecs3|At The Tomb of Charles Ives]] "; Instead of working with a set of fixed pitches, his concept was instead to use a set of fixed intervals regardless where this lead one. [[David Doty]] realized a midi version of a Symphony in Free Style That Mr. Harrison wrote.
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| In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there. Another consideration is that unless an effort is made to restrict the range of tonalities, the numerators and denominators grow with time and become unwieldy and eventually impossible to manage. If no such effort is made, they grow linearly. One possible solution is nanotempering--using an equal temperament so high it cannot be distinguished from JI. | | In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there. Another consideration is that unless an effort is made to restrict the range of tonalities, the numerators and denominators grow with time and become unwieldy and eventually impossible to manage. If no such effort is made, they grow linearly. One possible solution is nanotempering--using an equal temperament so high it cannot be distinguished from JI. |
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| [[Toby Twining]]'s //Chrysalid Requiem// makes local use of subharmonic, harmonic, 3s-and-7s, and other subsets of JI; however its large-scale modulations wander far and never return precisely to the 1/1 begun with. | | [[Toby_Twining|Toby Twining]]'s ''Chrysalid Requiem'' makes local use of subharmonic, harmonic, 3s-and-7s, and other subsets of JI; however its large-scale modulations wander far and never return precisely to the 1/1 begun with. |
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| [[Chuckk Hubbard]]'s [[http://rationale.sourceforge.net/|Rationale]] is offered as a tool, with which Chuckk himself has composed several works. | | [[Chuckk_Hubbard|Chuckk Hubbard]]'s [http://rationale.sourceforge.net/ Rationale] is offered as a tool, with which Chuckk himself has composed several works. |
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| Two pitch calculators which could also be helpful: [[http://jjicalc.sourceforge.net/|JJICalc]] and [[jim altieri]]'s [[http://tweeg.net/software.html|interval calculator]]. | | Two pitch calculators which could also be helpful: [http://jjicalc.sourceforge.net/ JJICalc] and [[jim_altieri|jim altieri]]'s [http://tweeg.net/software.html interval calculator]. |
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| * http://www.justintonation.net/
| | <ul><li>[http://www.justintonation.net/ http://www.justintonation.net/]</li></ul> |
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| Notations which are capable of notating the whole of free-JI: | | Notations which are capable of notating the whole of free-JI: |
| * [[Rational Comma Notation (RCN)]]
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| * [[Kite|Kite's Color Notation]]
| | <ul><li>[[Rational_Comma_Notation_(RCN)|Rational Comma Notation (RCN)]]</li><li>[[Kite|Kite's Color Notation]]</li><li>[[Sagittal|Sagittal]]</li></ul> [[Category:ji]] |
| * [[Sagittal]]</pre></div>
| | [[Category:just]] |
| <h4>Original HTML content:</h4>
| | [[Category:term]] |
| <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>FreeStyleJI</title></head><body><a class="wiki_link" href="/Lou%20Harrison">Lou Harrison</a> invented this term from a technique he applied first in the middle section of his piece &quot;<a class="wiki_link_ext" href="http://www.cdbaby.com/cd/pitchrecs3" rel="nofollow">At The Tomb of Charles Ives</a> &quot;; Instead of working with a set of fixed pitches, his concept was instead to use a set of fixed intervals regardless where this lead one. <a class="wiki_link" href="/David%20Doty">David Doty</a> realized a midi version of a Symphony in Free Style That Mr. Harrison wrote.<br />
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| In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there. Another consideration is that unless an effort is made to restrict the range of tonalities, the numerators and denominators grow with time and become unwieldy and eventually impossible to manage. If no such effort is made, they grow linearly. One possible solution is nanotempering--using an equal temperament so high it cannot be distinguished from JI.<br />
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| <a class="wiki_link" href="/Toby%20Twining">Toby Twining</a>'s <em>Chrysalid Requiem</em> makes local use of subharmonic, harmonic, 3s-and-7s, and other subsets of JI; however its large-scale modulations wander far and never return precisely to the 1/1 begun with.<br />
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| <a class="wiki_link" href="/Chuckk%20Hubbard">Chuckk Hubbard</a>'s <a class="wiki_link_ext" href="http://rationale.sourceforge.net/" rel="nofollow">Rationale</a> is offered as a tool, with which Chuckk himself has composed several works.<br />
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| Two pitch calculators which could also be helpful: <a class="wiki_link_ext" href="http://jjicalc.sourceforge.net/" rel="nofollow">JJICalc</a> and <a class="wiki_link" href="/jim%20altieri">jim altieri</a>'s <a class="wiki_link_ext" href="http://tweeg.net/software.html" rel="nofollow">interval calculator</a>.<br />
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| <ul><li><!-- ws:start:WikiTextUrlRule:36:http://www.justintonation.net/ --><a class="wiki_link_ext" href="http://www.justintonation.net/" rel="nofollow">http://www.justintonation.net/</a><!-- ws:end:WikiTextUrlRule:36 --></li></ul><br />
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| Notations which are capable of notating the whole of free-JI:<br />
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| <ul><li><a class="wiki_link" href="/Rational%20Comma%20Notation%20%28RCN%29">Rational Comma Notation (RCN)</a></li><li><a class="wiki_link" href="/Kite">Kite's Color Notation</a></li><li><a class="wiki_link" href="/Sagittal">Sagittal</a></li></ul></body></html></pre></div>
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Lou Harrison invented this term from a technique he applied first in the middle section of his piece "At The Tomb of Charles Ives "; Instead of working with a set of fixed pitches, his concept was instead to use a set of fixed intervals regardless where this lead one. David Doty realized a midi version of a Symphony in Free Style That Mr. Harrison wrote.
In adding freedom you may be sacrificing a 'safety' of familiarity, tonality, simplicity of materials, etc. It is a dangerous and rewarding world out there. Another consideration is that unless an effort is made to restrict the range of tonalities, the numerators and denominators grow with time and become unwieldy and eventually impossible to manage. If no such effort is made, they grow linearly. One possible solution is nanotempering--using an equal temperament so high it cannot be distinguished from JI.
Toby Twining's Chrysalid Requiem makes local use of subharmonic, harmonic, 3s-and-7s, and other subsets of JI; however its large-scale modulations wander far and never return precisely to the 1/1 begun with.
Chuckk Hubbard's Rationale is offered as a tool, with which Chuckk himself has composed several works.
Two pitch calculators which could also be helpful: JJICalc and jim altieri's interval calculator.
Notations which are capable of notating the whole of free-JI: