User:BudjarnLambeth: Difference between revisions

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==Wiki contributions==

===AI summary===

I don't and won't ever use AI for contributions to wiki pages, I'm only using it this once to summarize my own user page (this page) because it is currently difficult to read. Also, I did '''not''' ask the AI to scrape the wiki, I used my own local copies of my pages from my computer to ask the AI about.

=== Theoretical frameworks ===

Lambeth has proposed several original theoretical frameworks for understanding and composing microtonal music.

==== [[User:BudjarnLambeth/Quasipelog theory|Quasipelog theory]] ====

This is a framework for approaching '''[[16edo]]''' (and other EDOs supporting the '''2.3.5.11 [[mavila]] temperament''', like {{EDOs|EDOS 23, 30, 37, and 39}}). It is inspired by Indonesian [[Gamelan]] theory, the [[Armodue]] school, and [[Erv Wilson]]'s [[MOS]] scales.

* '''Concept:''' It focuses on specific scales that mimic the feel of Pelog scales but within a 16-tone equal temperament context.

* '''Scales:''' The theory defines four essential scales derived from Mavila MOS modes:

** '''Quasipelog Minor:''' Mode ''ssLsL'' of mavila[5].

** '''Quasipelog Major:''' Mode ''LssLs'' of mavila[5].

** '''Quasipelog Heptatonic:''' Mode ''ssLssLs'' of mavila[7].

** '''Quasipelog Chromatic:''' A mavila[16] MOS scale (7 fifths up, 8 down).

* '''Timbre:''' A key part of the theory is the avoidance of harmonic timbres. Lambeth recommends "inharmonic" sounds such as metallophones, bells, or "thin/reedy" waveforms (like sine or woodwinds) to complement the tuning.

==== [[User:BudjarnLambeth/Structural beating|Structural beating]] ====

Lambeth hypothesized this property for equal-step tunings where the '''[[period]]''' of the scale '''differs''' from the interval of '''psychoacoustic [[equivalence]]''' (usually the octave, 2/1).

* '''Effect:''' Because the scale repeats at an interval different from the ear's point of equivalence, the scale creates a macro-scale "beating" or phasing effect as it ascends or descends.

* '''Goal:''' This is considered a desirable property that makes a periodic scale feel less repetitive, offering shifting colors and shapes ("something from nothing").

* '''Examples:''' Equal divisions of sevenths (e.g., ed7/4) or ninths (ed16/9) if the equivalence is the octave.

==== [[User:BudjarnLambeth/Polytriadic|Polytriadicism]] ====

This concept involves tuning an ensemble (of 2 or more instruments/groups) so that each is tuned to a different '''triad''' or subset of a larger overarching scale.

* '''Application:''' It allows composers to approach complex temperaments (like those without consonant small MOS scales) or large [[just intonation]] sets by breaking them down into simpler, manageable triadic parts.

* '''Function:''' It can be used to "flag" different rhythmic elements harmonically or to create complex, interweaving voice lines that generate consonance from the aggregate of the instruments.

* '''Example:''' '''[[Shoal17|Shoal[17]]]''', a 17-tone MOS scale in the Shoal temperament (a 2.3.13.23 subgroup detemper of 17edo), is cited as a prime candidate for this approach.

==== [[User:BudjarnLambeth/Equalizer subgroup|Equalizer subgroups]] ====

A just intonation subgroup designed to balance specific types of harmonics to achieve a specific aesthetic.

* '''Criteria:'''

** '''Structural Harmonics (2, 3, 4, 5):''' 2 or 3 present. They provide stability and "tonal gravity."

** '''Assertive Harmonics (5–12):''' '''None''' present. These are excluded because they have "strong personalities" that define the scale's flavor too rigidly.

** '''Ethereal Harmonics (13+):''' At least 3 present. These provide subtle, background influence.

* '''Goal:''' To allow subtle "ethereal" harmonics to shine by removing the "assertive" middle harmonics, akin to using an EQ to cut mids and boost highs/lows.

* '''Examples:''' Subgroups like (2.3.5.13.17.19) used in Lambeth's Fifigeist temperament.

==== [[User:BudjarnLambeth/Substitute harmonic|Substitute harmonics]] ====

This theory involves replacing a simple, lower harmonic with a complex, higher harmonic that closely approximates it, thereby "fudging" the tuning into a different subgroup.

* '''Sharp Substitutes:''' Replacing a harmonic with a slightly sharper higher harmonic. Lambeth names these temperaments after weapons or with "com"-ending names (e.g., '''Daggerminished''', '''Pajaraxe''', '''Dotcom''', '''Sitcom''', '''Romcom''').

* '''Flat Substitutes:''' Replacing with a flatter harmonic. Naming convention involves flat regions (e.g., '''Sahara''').

=== Scalesmithing ===

Lambeth has invented numerous specific scales and temperaments.

* '''[[User:BudjarnLambeth/Batch 89 temperaments|Batch 89 Temperaments]]:''' A set of temperaments first documented in 2023, honoring the characters from ''Guardians of the Galaxy Vol. 3''. Each tempers 4 harmonics: the 2nd, the 89th (representing shared trauma), and two others derived from the character's name via A1Z26 cipher.

** '''Floor:''' 2.3.11.89 (Neutral related).

** '''Teefs:''' 2.5.11.89 (Bug related).

** '''Rocket:''' 2.9+.9-.89 (Lu/Deutone related).

* '''Ed255/128 and Ed257/128:''' These are "Equal Divisions of Reduced Harmonics."

** '''[[User:BudjarnLambeth/Ed255/128|Ed255/128]]:''' Divides the interval 255/128 (slightly flatter than an octave). Useful for correcting EDOs where consonances are too sharp (e.g., used as an alternative to 5edo).

** '''[[BudjarnLambeth/Ed257/128|Ed257/128]]:''' Divides the interval 257/128 (slightly sharper than an octave). Useful for correcting EDOs where consonances are too flat (e.g., alternative to 7edo).

* '''[[Antipental Blues]]:''' A 6-tone scale subset of the [[Dwarf17marv]] scale. It mimics the melodic shape of the minor blues scale but uses exotic 2.3.7.11 intervals (7/6, 11/8, 7/4) instead of the standard 5-limit intervals.

* '''[[Moon Dust]]:''' A 16-tone just intonation scale with a period of 16/1 (four octaves). It features dynamic step sizes and a mix of familiar 3-limit harmonies with xenharmonic 19-limit (no-5, no-13) intervals.

* '''[[Firedance]] scale:''' A 5-tone subset of zeta-stretched 15edo (47zpi). It was designed by ear, starting from 5edo and adjusting steps by degrees of 15edo.

=== Tuning recommendations ===

Lambeth recommends the following tunings for Western musicians exploring world music traditions:

* '''For Gamelan scales (Pelog/Slendro):''' He [[User:BudjarnLambeth/Edo approximations of gamelan scales|recommends specific EDOs that approximate these scales]] well. His personal favorite is '''44edo'''. Other good approximations include 21, 23, 35, 39, 40, 42, 54, and 60edo.

* '''For Japanese scales:''' He [[User:BudjarnLambeth/Some tunings for Japanese scales|prefers '''Meantone''' temperaments in '''55edo''', '''98edo''', or '''43edo''']] (approx. 1/5-comma meantone). He generally dislikes 5-limit JI or Pythagorean tunings for these scales, finding the "wolf" intervals objectionable.

===Discoveries===

====Invented approaches to constructing tunings ====

@@ Line 52: / Line 52: @@
 ==Wiki contributions==
+===AI summary===
+I don't and won't ever use AI for contributions to wiki pages, I'm only using it this once to summarize my own user page (this page) because it is currently difficult to read. Also, I did '''not''' ask the AI to scrape the wiki, I used my own local copies of my pages from my computer to ask the AI about.
+=== Theoretical frameworks ===
+Lambeth has proposed several original theoretical frameworks for understanding and composing microtonal music.
+==== [[User:BudjarnLambeth/Quasipelog theory|Quasipelog theory]] ====
+This is a framework for approaching '''[[16edo]]''' (and other EDOs supporting the '''2.3.5.11 [[mavila]] temperament''', like {{EDOs|EDOS 23, 30, 37, and 39}}). It is inspired by Indonesian [[Gamelan]] theory, the [[Armodue]] school, and [[Erv Wilson]]'s [[MOS]] scales.
+* '''Concept:''' It focuses on specific scales that mimic the feel of Pelog scales but within a 16-tone equal temperament context.
+* '''Scales:''' The theory defines four essential scales derived from Mavila MOS modes:
+** '''Quasipelog Minor:''' Mode ''ssLsL'' of mavila[5].
+** '''Quasipelog Major:''' Mode ''LssLs'' of mavila[5].
+** '''Quasipelog Heptatonic:''' Mode ''ssLssLs'' of mavila[7].
+** '''Quasipelog Chromatic:''' A mavila[16] MOS scale (7 fifths up, 8 down).
+* '''Timbre:''' A key part of the theory is the avoidance of harmonic timbres. Lambeth recommends "inharmonic" sounds such as metallophones, bells, or "thin/reedy" waveforms (like sine or woodwinds) to complement the tuning.
+==== [[User:BudjarnLambeth/Structural beating|Structural beating]] ====
+Lambeth hypothesized this property for equal-step tunings where the '''[[period]]''' of the scale '''differs''' from the interval of '''psychoacoustic [[equivalence]]''' (usually the octave, 2/1).
+* '''Effect:''' Because the scale repeats at an interval different from the ear's point of equivalence, the scale creates a macro-scale "beating" or phasing effect as it ascends or descends.
+* '''Goal:''' This is considered a desirable property that makes a periodic scale feel less repetitive, offering shifting colors and shapes ("something from nothing").
+* '''Examples:''' Equal divisions of sevenths (e.g., ed7/4) or ninths (ed16/9) if the equivalence is the octave.
+==== [[User:BudjarnLambeth/Polytriadic|Polytriadicism]] ====
+This concept involves tuning an ensemble (of 2 or more instruments/groups) so that each is tuned to a different '''triad''' or subset of a larger overarching scale.
+* '''Application:''' It allows composers to approach complex temperaments (like those without consonant small MOS scales) or large [[just intonation]] sets by breaking them down into simpler, manageable triadic parts.
+* '''Function:''' It can be used to "flag" different rhythmic elements harmonically or to create complex, interweaving voice lines that generate consonance from the aggregate of the instruments.
+* '''Example:''' '''[[Shoal17|Shoal[17]]]''', a 17-tone MOS scale in the Shoal temperament (a 2.3.13.23 subgroup detemper of 17edo), is cited as a prime candidate for this approach.
+==== [[User:BudjarnLambeth/Equalizer subgroup|Equalizer subgroups]] ====
+A just intonation subgroup designed to balance specific types of harmonics to achieve a specific aesthetic.
+* '''Criteria:'''
+** '''Structural Harmonics (2, 3, 4, 5):''' 2 or 3 present. They provide stability and "tonal gravity."
+** '''Assertive Harmonics (5–12):''' '''None''' present. These are excluded because they have "strong personalities" that define the scale's flavor too rigidly.
+** '''Ethereal Harmonics (13+):''' At least 3 present. These provide subtle, background influence.
+* '''Goal:''' To allow subtle "ethereal" harmonics to shine by removing the "assertive" middle harmonics, akin to using an EQ to cut mids and boost highs/lows.
+* '''Examples:''' Subgroups like (2.3.5.13.17.19) used in Lambeth's Fifigeist temperament.
+==== [[User:BudjarnLambeth/Substitute harmonic|Substitute harmonics]] ====
+This theory involves replacing a simple, lower harmonic with a complex, higher harmonic that closely approximates it, thereby "fudging" the tuning into a different subgroup.
+* '''Sharp Substitutes:''' Replacing a harmonic with a slightly sharper higher harmonic. Lambeth names these temperaments after weapons or with "com"-ending names (e.g., '''Daggerminished''', '''Pajaraxe''', '''Dotcom''', '''Sitcom''', '''Romcom''').
+* '''Flat Substitutes:''' Replacing with a flatter harmonic. Naming convention involves flat regions (e.g., '''Sahara''').
+=== Scalesmithing ===
+Lambeth has invented numerous specific scales and temperaments.
+* '''[[User:BudjarnLambeth/Batch 89 temperaments|Batch 89 Temperaments]]:''' A set of temperaments first documented in 2023, honoring the characters from ''Guardians of the Galaxy Vol. 3''. Each tempers 4 harmonics: the 2nd, the 89th (representing shared trauma), and two others derived from the character's name via A1Z26 cipher.
+** '''Floor:''' 2.3.11.89 (Neutral related).
+** '''Teefs:''' 2.5.11.89 (Bug related).
+** '''Rocket:''' 2.9+.9-.89 (Lu/Deutone related).
+* '''Ed255/128 and Ed257/128:''' These are "Equal Divisions of Reduced Harmonics."
+** '''[[User:BudjarnLambeth/Ed255/128|Ed255/128]]:''' Divides the interval 255/128 (slightly flatter than an octave). Useful for correcting EDOs where consonances are too sharp (e.g., used as an alternative to 5edo).
+** '''[[BudjarnLambeth/Ed257/128|Ed257/128]]:''' Divides the interval 257/128 (slightly sharper than an octave). Useful for correcting EDOs where consonances are too flat (e.g., alternative to 7edo).
+* '''[[Antipental Blues]]:''' A 6-tone scale subset of the [[Dwarf17marv]] scale. It mimics the melodic shape of the minor blues scale but uses exotic 2.3.7.11 intervals (7/6, 11/8, 7/4) instead of the standard 5-limit intervals.
+* '''[[Moon Dust]]:''' A 16-tone just intonation scale with a period of 16/1 (four octaves). It features dynamic step sizes and a mix of familiar 3-limit harmonies with xenharmonic 19-limit (no-5, no-13) intervals.
+* '''[[Firedance]] scale:''' A 5-tone subset of zeta-stretched 15edo (47zpi). It was designed by ear, starting from 5edo and adjusting steps by degrees of 15edo.
+=== Tuning recommendations ===
+Lambeth recommends the following tunings for Western musicians exploring world music traditions:
+* '''For Gamelan scales (Pelog/Slendro):''' He [[User:BudjarnLambeth/Edo approximations of gamelan scales|recommends specific EDOs that approximate these scales]] well. His personal favorite is '''44edo'''. Other good approximations include 21, 23, 35, 39, 40, 42, 54, and 60edo.
+* '''For Japanese scales:''' He [[User:BudjarnLambeth/Some tunings for Japanese scales|prefers '''Meantone''' temperaments in '''55edo''', '''98edo''', or '''43edo''']] (approx. 1/5-comma meantone). He generally dislikes 5-limit JI or Pythagorean tunings for these scales, finding the "wolf" intervals objectionable.
 ===Discoveries===
 ====Invented approaches to constructing tunings ====