Bug and beep: Difference between revisions

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== Chords and harmony ==

In beep, the 7-limit tetrad has very low [[Graham complexity]] (only 3). The fact that [[7/5]] is also [[4/3]] allows a type of "tritone substitution" distinct from that which appears in [[jubilismic]] temperaments; namely, one in which the 4/3 of one chord becomes the 7/5 of the next or vice versa. This is equivalent to modulating upward or downward by a generator. The more usual type of modulation (upward or downward by fifths) is also easy since two generators make a fifth. These tetrads, despite being relatively inaccurate, are still easily recognizable and not necessarily unpleasant-sounding (though of course it depends on the timbre of the instrument they are played on). Another thing to watch out for is that due to tempering, the tetrads are of the form Lsss, which means they are their own inverses (i.e. the utonal and otonal tetrads are the same). The 4:5:6:7 and 5:6:7:9 tetrads are also the same. This gives them a chameleonic quality, akin to power chords; they can sound either major or minor, which strongly depends on the voicing used. The terms major and minor can still be used to refer to ''inversions'' of the basic tetrad (the major inversion being Lsss, and the minor inversion being sLss).

In beep, the 7-limit tetrad has very low [[Graham complexity]] (only 3). The fact that [[7/5]] is also [[4/3]] allows a type of "tritone substitution" distinct from that which appears in [[Jubilismic_clan|jubilismic]] temperaments; namely, one in which the 4/3 of one chord becomes the 7/5 of the next or vice versa. This is equivalent to modulating upward or downward by a generator. The more usual type of modulation (upward or downward by fifths) is also easy since two generators make a fifth. These tetrads, despite being relatively inaccurate, are still easily recognizable and not necessarily unpleasant-sounding (though of course it depends on the timbre of the instrument they are played on). Another thing to watch out for is that due to tempering, the tetrads are of the form Lsss, which means they are their own inverses (i.e. the utonal and otonal tetrads are the same). The 4:5:6:7 and 5:6:7:9 tetrads are also the same. This gives them a chameleonic quality, akin to power chords; they can sound either major or minor, which strongly depends on the voicing used. The terms major and minor can still be used to refer to ''inversions'' of the basic tetrad (the major inversion being Lsss, and the minor inversion being sLss).

Beep forms enneatonic scales which may be either of the form LLsLsLsLs or ssLsLsLsL; where both step sizes are equal this simply gives [[9edo]]. An enneatonic scale has six tetrads, and just like the diatonic scale it allows a variant of the familiar "I-IV-V" type of chord progression (which, using enneatonic notation, would be I-V-VI). Beep's enneatonic scales provide an alternative to the Erlich decatonic; they are lower in accuracy, but are also simpler and offer more freedom of modulation, and thus for some listeners they might actually be less xenharmonic.

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 == Chords and harmony ==
-In beep, the 7-limit tetrad has very low [[Graham complexity]] (only 3). The fact that [[7/5]] is also [[4/3]] allows a type of "tritone substitution" distinct from that which appears in [[jubilismic]] temperaments; namely, one in which the 4/3 of one chord becomes the 7/5 of the next or vice versa. This is equivalent to modulating upward or downward by a generator. The more usual type of modulation (upward or downward by fifths) is also easy since two generators make a fifth. These tetrads, despite being relatively inaccurate, are still easily recognizable and not necessarily unpleasant-sounding (though of course it depends on the timbre of the instrument they are played on). Another thing to watch out for is that due to tempering, the tetrads are of the form Lsss, which means they are their own inverses (i.e. the utonal and otonal tetrads are the same). The 4:5:6:7 and 5:6:7:9 tetrads are also the same. This gives them a chameleonic quality, akin to power chords; they can sound either major or minor, which strongly depends on the voicing used. The terms major and minor can still be used to refer to ''inversions'' of the basic tetrad (the major inversion being Lsss, and the minor inversion being sLss).
+In beep, the 7-limit tetrad has very low [[Graham complexity]] (only 3). The fact that [[7/5]] is also [[4/3]] allows a type of "tritone substitution" distinct from that which appears in [[Jubilismic_clan|jubilismic]] temperaments; namely, one in which the 4/3 of one chord becomes the 7/5 of the next or vice versa. This is equivalent to modulating upward or downward by a generator. The more usual type of modulation (upward or downward by fifths) is also easy since two generators make a fifth. These tetrads, despite being relatively inaccurate, are still easily recognizable and not necessarily unpleasant-sounding (though of course it depends on the timbre of the instrument they are played on). Another thing to watch out for is that due to tempering, the tetrads are of the form Lsss, which means they are their own inverses (i.e. the utonal and otonal tetrads are the same). The 4:5:6:7 and 5:6:7:9 tetrads are also the same. This gives them a chameleonic quality, akin to power chords; they can sound either major or minor, which strongly depends on the voicing used. The terms major and minor can still be used to refer to ''inversions'' of the basic tetrad (the major inversion being Lsss, and the minor inversion being sLss).
 Beep forms enneatonic scales which may be either of the form LLsLsLsLs or ssLsLsLsL; where both step sizes are equal this simply gives [[9edo]]. An enneatonic scale has six tetrads, and just like the diatonic scale it allows a variant of the familiar "I-IV-V" type of chord progression (which, using enneatonic notation, would be I-V-VI). Beep's enneatonic scales provide an alternative to the Erlich decatonic; they are lower in accuracy, but are also simpler and offer more freedom of modulation, and thus for some listeners they might actually be less xenharmonic.