BudjarnLambeth
Joined 22 July 2022
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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. | 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 === | ==== Theoretical frameworks ==== | ||
Lambeth has proposed several original theoretical frameworks for understanding and composing microtonal music. | Lambeth has proposed several original theoretical frameworks for understanding and composing microtonal music. | ||
==== [[User:BudjarnLambeth/Quasipelog theory|Quasipelog theory]] ==== | ===== [[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. | 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. | ||
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* '''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. | * '''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]] ==== | ===== [[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). | 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). | ||
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* '''Examples:''' Equal divisions of sevenths (e.g., ed7/4) or ninths (ed16/9) if the equivalence is the octave. | * '''Examples:''' Equal divisions of sevenths (e.g., ed7/4) or ninths (ed16/9) if the equivalence is the octave. | ||
==== [[User:BudjarnLambeth/Polytriadic|Polytriadicism]] ==== | ===== [[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. | 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. | ||
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* '''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. | * '''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]] ==== | ===== [[User:BudjarnLambeth/Equalizer subgroup|Equalizer subgroups]] ===== | ||
A just intonation subgroup designed to balance specific types of harmonics to achieve a specific aesthetic. | A just intonation subgroup designed to balance specific types of harmonics to achieve a specific aesthetic. | ||
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* '''Examples:''' Subgroups like (2.3.5.13.17.19) used in Lambeth's Fifigeist temperament. | * '''Examples:''' Subgroups like (2.3.5.13.17.19) used in Lambeth's Fifigeist temperament. | ||
==== [[User:BudjarnLambeth/Substitute harmonic|Substitute harmonics]] ==== | ===== [[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. | 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. | ||
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* '''Flat Substitutes:''' Replacing with a flatter harmonic. Naming convention involves flat regions (e.g., '''Sahara'''). | * '''Flat Substitutes:''' Replacing with a flatter harmonic. Naming convention involves flat regions (e.g., '''Sahara'''). | ||
=== Scalesmithing === | ==== Scalesmithing ==== | ||
Lambeth has invented numerous specific scales and temperaments. | Lambeth has invented numerous specific scales and temperaments. | ||
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* '''[[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. | * '''[[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 === | ==== Tuning recommendations ==== | ||
Lambeth recommends the following tunings for Western musicians exploring world music traditions: | Lambeth recommends the following tunings for Western musicians exploring world music traditions: | ||