Tonality diamond: Difference between revisions
No edit summary |
|||
| Line 22: | Line 22: | ||
== History == | == History == | ||
[[File:Diamond_marimba_layout.png|thumb|Layout of the Diamond Marimba. Ratios are shown unreduced to highlight the structure. [https://sintel.website/posts/diamond_marimba.html Click here to play the Diamond Marimba on your browser.]|332x332px]] | |||
The tonality diamond was first formally explained by Max F. Meyer in his 1929 publication ''The Musician's Arithmetic'' using the 7-odd-limit.<ref name="meyer1929"/> | The tonality diamond was first formally explained by Max F. Meyer in his 1929 publication ''The Musician's Arithmetic'' using the 7-odd-limit.<ref name="meyer1929"/> | ||
| Line 28: | Line 29: | ||
[[Erv Wilson]] in particular was inspired by Partch's use of the tonality diamond and it's extended form. He developed a number of "diamonds" himself,<ref>Wilson, Erv. (1965-1970) [https://anaphoria.com/diamond.pdf ''Letters on Diamond Lattices''] (PDF) Self-published.</ref> as well as other concepts inspired by Partch's use of the extended tonality diamond such as [[constant structure]].<ref>Wilson, Erv. (1964-2002) [https://www.anaphoria.com/Partchpapers.pdf ''The Partch Papers''] (collection of documents on Harry Partch's 11-limit diamond and its extensions, PDF). Self-published.</ref> A related idea of Wilson's is the [[Cross-set scale|cross-set]], of which the tonality diamond is a special case. | [[Erv Wilson]] in particular was inspired by Partch's use of the tonality diamond and it's extended form. He developed a number of "diamonds" himself,<ref>Wilson, Erv. (1965-1970) [https://anaphoria.com/diamond.pdf ''Letters on Diamond Lattices''] (PDF) Self-published.</ref> as well as other concepts inspired by Partch's use of the extended tonality diamond such as [[constant structure]].<ref>Wilson, Erv. (1964-2002) [https://www.anaphoria.com/Partchpapers.pdf ''The Partch Papers''] (collection of documents on Harry Partch's 11-limit diamond and its extensions, PDF). Self-published.</ref> A related idea of Wilson's is the [[Cross-set scale|cross-set]], of which the tonality diamond is a special case. | ||
The first novel xenharmonic temperament—[[George Secor|George Secor's]] later-named [[Miracle]] temperament—was made to approximate Partch's 11-limit diamond.<ref>Secor, George (1975). [https://www.anaphoria.com/SecorMiracle.pdf ''A New Look at the Partch Monophonic Fabric.''] Xenharmonicon. Vol. 3</ref><ref>Secor, George. (2006) [https://www.anaphoria.com/SecorMiracle.pdf ''The Miracle Temperament and Decimal Keyboard'']. Xenharmonikon. Vol. 18. 2006. pp. 5–15</ref> | The first novel xenharmonic temperament—[[George Secor|George Secor's]] later-named [[Miracle]] temperament—was made to approximate Partch's 11-limit diamond.<ref>Secor, George (1975). [https://www.anaphoria.com/SecorMiracle.pdf ''A New Look at the Partch Monophonic Fabric.''] Xenharmonicon. Vol. 3</ref><ref>Secor, George. (2006) [https://www.anaphoria.com/SecorMiracle.pdf ''The Miracle Temperament and Decimal Keyboard'']. Xenharmonikon. Vol. 18. 2006. pp. 5–15</ref> | ||
=== Instrument layout === | === Instrument layout === | ||
The most famous example of the tonality diamond as a practical layout for an instrument is Harry Partch's "Diamond Marimba," which uses the 11-odd-limit tonality diamond exactly. This idea was explored further with Partch's "Quadrangularis Reversum," and by Cris Forster with his [[13-odd-limit]] Diamond Marimba. | The most famous example of the tonality diamond as a practical layout for an instrument is Harry Partch's "Diamond Marimba," which uses the 11-odd-limit tonality diamond exactly. This idea was explored further with Partch's "Quadrangularis Reversum," and by Cris Forster with his [[13-odd-limit]] Diamond Marimba.<ref>https://web.archive.org/web/20220901100217/https://www.chrysalis-foundation.org/instruments-and-music/diamond-marimba-i/</ref> | ||
== Music == | == Music == | ||