Frameshift comma: Difference between revisions

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The '''frameshift comma''' is an [[unnoticeable comma|unnoticeable]] [[11-limit]] comma- specifically of the 2.3.11 subgroup- with a complicated ratio of 22876792454961/22866405883904, and a size of roughly 0.79 [[cent]]s. It is the interval separating the [[Rastma]] from the [[Pythrabian comma]], as well as the amount by which an octave-reduced stack of three [[11/8]] intervals falls short of a stack of four [[apotome]]s. Since both the Rastmic and Pythrabian temperaments are ways of conceptualizing how the 11-prime relates to the 3-prime within the 2.3.11 subgroup, that means that these two distinct frameworks for viewing the 11-prime relative to the 3-prime become linked when 22876792454961/22866405883904 is tempered out- hence the name "frameshift" comma. Naturally, tempering out this comma results in some form of [[frameshift microtemperaments|frameshift microtemperament]], and such temperaments are known to be associated with higher-accuracy systems.

== Frameshift ~~cadence~~ ==

== Frameshift progression ==

The name of the frameshift comma is even more appropriate in light of the fact that when one tempers out this comma, one can move stepwise to 11/8 though a series of four motions by the apotome and one motion by [[128/121]]- all rather typical-sounding semitone-based motions- with this gesture forming the basis of what has since been dubbed the '''frameshift ~~cadence~~'''- a cadence which shifts a listener's perception of pitch relations such that a modulation to 11/8 sounds in tune. ~~[[Category:Chord progressions]]~~

The name of the frameshift comma is even more appropriate in light of the fact that when one tempers out this comma, one can move stepwise to 11/8 though a series of four motions by the apotome and one motion by [[128/121]]- all rather typical-sounding semitone-based motions- with this gesture forming the basis of what has since been dubbed the '''frameshift progression'''- a cadence which shifts a listener's perception of pitch relations such that a modulation to 11/8 sounds in tune.

[[File:Frameshift Cadence.mp3|thumb|Sample of the Frameshift ~~cadence~~ as it appears in [[159edo]].]]

[[File:Frameshift Cadence.mp3|thumb|Sample of the Frameshift progression as it appears in [[159edo]].]]

[[File:Frameshift Cadence Score.png|thumb|Score for the above sample of the Frameshift ~~cadence~~ in 159edo.]]

[[File:Frameshift Cadence Score.png|thumb|Score for the above sample of the Frameshift progression in 159edo.]]

== See also ==

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[[Category:Frameshift]]

[[Category:Commas named for their regular temperament properties]]

[[Category:Chord progressions]]

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 The '''frameshift comma''' is an [[unnoticeable comma|unnoticeable]] [[11-limit]] comma- specifically of the 2.3.11 subgroup- with a complicated ratio of 22876792454961/22866405883904, and a size of roughly 0.79 [[cent]]s.  It is the interval separating the [[Rastma]] from the [[Pythrabian comma]], as well as the amount by which an octave-reduced stack of three [[11/8]] intervals falls short of a stack of four [[apotome]]s.  Since both the Rastmic and Pythrabian temperaments are ways of conceptualizing how the 11-prime relates to the 3-prime within the 2.3.11 subgroup, that means that these two distinct frameworks for viewing the 11-prime relative to the 3-prime become linked when 22876792454961/22866405883904 is tempered out- hence the name "frameshift" comma.  Naturally, tempering out this comma results in some form of [[frameshift microtemperaments|frameshift microtemperament]], and such temperaments are known to be associated with higher-accuracy systems.
-== Frameshift cadence ==
+== Frameshift progression ==
-The name of the frameshift comma is even more appropriate in light of the fact that when one tempers out this comma, one can move stepwise to 11/8 though a series of four motions by the apotome and one motion by [[128/121]]- all rather typical-sounding semitone-based motions- with this gesture forming the basis of what has since been dubbed the '''frameshift cadence'''- a cadence which shifts a listener's perception of pitch relations such that a modulation to 11/8 sounds in tune. [[Category:Chord progressions]]
+The name of the frameshift comma is even more appropriate in light of the fact that when one tempers out this comma, one can move stepwise to 11/8 though a series of four motions by the apotome and one motion by [[128/121]]- all rather typical-sounding semitone-based motions- with this gesture forming the basis of what has since been dubbed the '''frameshift progression'''- a cadence which shifts a listener's perception of pitch relations such that a modulation to 11/8 sounds in tune.
-[[File:Frameshift Cadence.mp3|thumb|Sample of the Frameshift cadence as it appears in [[159edo]].]]
+[[File:Frameshift Cadence.mp3|thumb|Sample of the Frameshift progression as it appears in [[159edo]].]]
-[[File:Frameshift Cadence Score.png|thumb|Score for the above sample of the Frameshift cadence in 159edo.]]
+[[File:Frameshift Cadence Score.png|thumb|Score for the above sample of the Frameshift progression in 159edo.]]
 == See also ==
@@ Line 23: / Line 23: @@
 [[Category:Frameshift]]
 [[Category:Commas named for their regular temperament properties]]
+[[Category:Chord progressions]]