Nelinda: Difference between revisions
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The '''nelinda''' is a hypothetical family of single-reed instruments developed by [https://www.youtube.com/user/TruncatedTriangle/ TruncatedTriangle]. In contrast to the conical-bore saxophone, which produces all | The '''nelinda''' is a hypothetical family of single-reed instruments developed by [https://www.youtube.com/user/TruncatedTriangle/ TruncatedTriangle]. In contrast to the conical-bore saxophone, which produces all harmonics, and the cylindrical-bore clarinet, which produces mostly odd-numbered ({{nowrap| 2''n'' + 1 }}) harmonics, the nelinda has a taper opposite in direction to the saxophone (that is, wider at the mouthpiece end and narrower at the bell end) designed to highlight the {{nowrap| 3''n'' + 1 }} harmonics (that is, harmonics 1, 4, 7, 10, 13, etc.) | ||
This implies that it will overblow not at the octave/ditave (2/1) or the twelfth/tritave (3/1) like other single-reeds, but instead at the fifteenth or double octave (4/1), giving it a wide range. | This implies that it will overblow not at the octave/ditave (2/1) or the twelfth/tritave (3/1) like other single-reeds, but instead at the fifteenth or double octave (4/1), giving it a wide range. | ||
=Xenharmonic | == Xenharmonic systems for nelinda == | ||
Similar to the mutual affinity between the tritave-repeating [[Bohlen–Pierce]] scale and the clarinet, with its spectrum of odd harmonics, a tuning system specifically for a (3''n'' + 1) spectrum like the nelinda can be developed, repeating at the 4/1 ratio (or ''tetratave''). | |||
Similar to the mutual affinity between the tritave-repeating [[Bohlen–Pierce]] scale and the clarinet, with its spectrum of odd harmonics, a tuning system specifically for a | |||
4:7:10:13 would serve as the basic chord for such a system, directly analogous to 4:5:6(:7) in "normal" ditave-repeating music and 3:5:7 for BP. This translates without issue to working within a 4.7.10.13 JI subgroup, of which [[640/637]] is a notable comma. | 4:7:10:13 would serve as the basic chord for such a system, directly analogous to 4:5:6(:7) in "normal" ditave-repeating music and 3:5:7 for BP. This translates without issue to working within a 4.7.10.13 JI subgroup, of which [[640/637]] is a notable comma. | ||
The {{nowrap| 20 & 27 }} (with respect to the tetratave) [https://sintel.pythonanywhere.com/result?subgroup=4.7.10.13&reduce=on&weights=weil&target=&edos=20%2C27&submit_edo=submit&commas= linear temperament] is a notable entry that tempers out the said comma, which we could call ''nelindic''. It has an approximate 16/13 as its generator and forms [[mos]] of 6, 7, and 13 notes for starters, the latter of which yields a good albitonic scale. [[27ed4]] is an okay tuning for nelindic (especially with compression), but [[47ed4]] ''really'' knocks it out of the park (similar to 12ed2 vs 31ed2 for 2.3.5). | |||
[[27ed4]] is an okay tuning for | |||
[[Category:Instruments]] | |||
[[Category:Nonoctave]] | [[Category:Nonoctave]] | ||
[[Category:Subgroup]] | [[Category:Subgroup]] | ||
Revision as of 04:10, 29 September 2025
The nelinda is a hypothetical family of single-reed instruments developed by TruncatedTriangle. In contrast to the conical-bore saxophone, which produces all harmonics, and the cylindrical-bore clarinet, which produces mostly odd-numbered (2n + 1) harmonics, the nelinda has a taper opposite in direction to the saxophone (that is, wider at the mouthpiece end and narrower at the bell end) designed to highlight the 3n + 1 harmonics (that is, harmonics 1, 4, 7, 10, 13, etc.)
This implies that it will overblow not at the octave/ditave (2/1) or the twelfth/tritave (3/1) like other single-reeds, but instead at the fifteenth or double octave (4/1), giving it a wide range.
Xenharmonic systems for nelinda
Similar to the mutual affinity between the tritave-repeating Bohlen–Pierce scale and the clarinet, with its spectrum of odd harmonics, a tuning system specifically for a (3n + 1) spectrum like the nelinda can be developed, repeating at the 4/1 ratio (or tetratave).
4:7:10:13 would serve as the basic chord for such a system, directly analogous to 4:5:6(:7) in "normal" ditave-repeating music and 3:5:7 for BP. This translates without issue to working within a 4.7.10.13 JI subgroup, of which 640/637 is a notable comma.
The 20 & 27 (with respect to the tetratave) linear temperament is a notable entry that tempers out the said comma, which we could call nelindic. It has an approximate 16/13 as its generator and forms mos of 6, 7, and 13 notes for starters, the latter of which yields a good albitonic scale. 27ed4 is an okay tuning for nelindic (especially with compression), but 47ed4 really knocks it out of the park (similar to 12ed2 vs 31ed2 for 2.3.5).