Mixed timbre: Difference between revisions
Wikispaces>MasonGreen1 **Imported revision 575446979 - Original comment: ** |
Wikispaces>xenwolf **Imported revision 575527913 - Original comment: let's try** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User: | : This revision was by author [[User:xenwolf|xenwolf]] and made on <tt>2016-02-22 15:27:37 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>575527913</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt>let's try</tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
<h4>Original Wikitext content:</h4> | <h4>Original Wikitext content:</h4> | ||
<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">A **mixed timbre** is a type of musical timbre that is intermediate between a perfectly harmonic (mode-locked) timbre and an inharmonic one. These types of timbres introduce a slight amount of inharmonicity, with partials being bent up or down by a few cents, while also maintaining the same "clear" quality that distinguishes harmonic timbres from the more "opaque" or bell-like inharmonic ones. The term mixed timbre was coined by | <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">A **mixed timbre** is a type of musical timbre that is intermediate between a perfectly harmonic (mode-locked) timbre and an inharmonic one. These types of timbres introduce a slight amount of inharmonicity, with partials being bent up or down by a few cents, while also maintaining the same "clear" quality that distinguishes harmonic timbres from the more "opaque" or bell-like inharmonic ones. The term mixed timbre was coined by [[Mason Green]], although the concept may have been proposed before. | ||
Mixed timbres are ideal for use with tunings that //almost,// but not quite, provide satisfactory approximations for certain intervals. For example, [[22edo]] is a fairly good 11-limit system, and it also allows for a great deal of new modal and tonal possibilities, which have been written about by Paul Erlich among others. Some of these scales sound much better if the 600-cent tritone is treated as a consonance rather than a dissonance. Similarly, it might be a good idea to treat the tempered whole tone (~218 cents) as a consonance as well, since it occurs in inversions of the harmonic seventh chord. | Mixed timbres are ideal for use with tunings that //almost,// but not quite, provide satisfactory approximations for certain intervals. For example, [[22edo]] is a fairly good 11-limit system, and it also allows for a great deal of new modal and tonal possibilities, which have been written about by Paul Erlich among others. Some of these scales sound much better if the 600-cent tritone is treated as a consonance rather than a dissonance. Similarly, it might be a good idea to treat the tempered whole tone (~218 cents) as a consonance as well, since it occurs in inversions of the harmonic seventh chord. | ||
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It's not just xenharmonic tunings that can benefit from using mixed timbres; even plain old 12edo can, as well (if you use a timbre with the 5th and 7th partials bent up).</pre></div> | It's not just xenharmonic tunings that can benefit from using mixed timbres; even plain old 12edo can, as well (if you use a timbre with the 5th and 7th partials bent up).</pre></div> | ||
<h4>Original HTML content:</h4> | <h4>Original HTML content:</h4> | ||
<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>mixed timbre</title></head><body>A <strong>mixed timbre</strong> is a type of musical timbre that is intermediate between a perfectly harmonic (mode-locked) timbre and an inharmonic one. These types of timbres introduce a slight amount of inharmonicity, with partials being bent up or down by a few cents, while also maintaining the same &quot;clear&quot; quality that distinguishes harmonic timbres from the more &quot;opaque&quot; or bell-like inharmonic ones. The term mixed timbre was coined by | <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>mixed timbre</title></head><body>A <strong>mixed timbre</strong> is a type of musical timbre that is intermediate between a perfectly harmonic (mode-locked) timbre and an inharmonic one. These types of timbres introduce a slight amount of inharmonicity, with partials being bent up or down by a few cents, while also maintaining the same &quot;clear&quot; quality that distinguishes harmonic timbres from the more &quot;opaque&quot; or bell-like inharmonic ones. The term mixed timbre was coined by <a class="wiki_link" href="/Mason%20Green">Mason Green</a>, although the concept may have been proposed before.<br /> | ||
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Mixed timbres are ideal for use with tunings that <em>almost,</em> but not quite, provide satisfactory approximations for certain intervals. For example, <a class="wiki_link" href="/22edo">22edo</a> is a fairly good 11-limit system, and it also allows for a great deal of new modal and tonal possibilities, which have been written about by Paul Erlich among others. Some of these scales sound much better if the 600-cent tritone is treated as a consonance rather than a dissonance. Similarly, it might be a good idea to treat the tempered whole tone (~218 cents) as a consonance as well, since it occurs in inversions of the harmonic seventh chord.<br /> | Mixed timbres are ideal for use with tunings that <em>almost,</em> but not quite, provide satisfactory approximations for certain intervals. For example, <a class="wiki_link" href="/22edo">22edo</a> is a fairly good 11-limit system, and it also allows for a great deal of new modal and tonal possibilities, which have been written about by Paul Erlich among others. Some of these scales sound much better if the 600-cent tritone is treated as a consonance rather than a dissonance. Similarly, it might be a good idea to treat the tempered whole tone (~218 cents) as a consonance as well, since it occurs in inversions of the harmonic seventh chord.<br /> | ||