User:Eufalesio: Difference between revisions

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=== Music ===

My main drive in music is '''expanding tonality''' with higher-limit JI: at the very least in the 5- or 7-limit, and at the very most in the 29- limit. My favorite subgroup is the 2.3.5.7.11.13.19~~.29.~~ See [[User:Eufalesio/Harmonic tiers]] for ~~a more detailed~~ analysis of primes.

My main drive in music is '''expanding tonality''' with higher-limit JI: at the very least in the 5- or 7-limit, and at the very most in the 29- limit. My favorite subgroup is the 2.3.5.7.11.13.19 See [[User:Eufalesio/Harmonic tiers]] for my analysis of primes.

My fav edos are thusly 12, 19, 22, 31, 53, 72, 94, 159, 217, 311.

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2/1

And the [[Carlos harmonic scale]]. My approach to these JI scales is either fudging or tempering with EDOs.

=== Theory ===

Interested in naming stuff and knowing what we're talking about with some semblance of certainty. In terms of compositional theory, I believe that the best approach to music is to follow the harmonic series as closely as possible, using low complexity otonality, harmonic segments melodically, and low-prime-limit expanded tonality.

I do not believe that the harmonic series and the subharmonic series are mirror versions of each other. They are only in pitch space, but in any real musical context, their functions are vastly different. Harmonics play inside harmony, subharmonics define harmony. Since subharmonics define harmony, concatenating many subharmonics leads to an extremely numerically complex chord with a huge denominator. Bad. Melodically, subharmonics are incredibly potent, but for different reasons than harmonics.

Ultimately I care more about praxis than about theory, my theory of theory being that it should be as descriptive, simple and intuitive as possible or be ultimately derived from praxis entirely, and all the thinking power should go to the actual music making. Theories are still important because the mental framework with which one makes music can, and does change, and learning about new ways to look at the same concepts is an important skill as an artist, I'd say.

=== Worldbuilding ===

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* [[User:Eufalesio/Eufa's JI voicing notation]]

* [[User:Eufalesio/Punctional Just System]] (joke)

* [[User:Eufalesio/PLIN]] (my way of thinking about intervals)

* [[User:Eufalesio/PLIN]] (my way of thinking about intervals, needs some more work)

* [[User:Eufalesio/Moture's Extended Functional Just System]] (bad translation of someone's article)

* [[User:Eufalesio/Proposal to the Functional Just System]]

* [[User:Eufalesio/Enumeration]] (also edited by [[Kite Giedraitis]], deprecated article, see [[EFR]])

*

*[[User:Eufalesio/Fifth scale tree]] (proposal)

*[[User:Eufalesio/Holopyth and Hemipyth]] (systematic nomenclature for all of Hemipyth)

The list will be expanded further as more articles are published.

@@ Line 16: / Line 16: @@
 === Music ===
-My main drive in music is '''expanding tonality''' with higher-limit JI: at the very least in the 5- or 7-limit, and at the very most in the 29- limit. My favorite subgroup is the 2.3.5.7.11.13.19.29. See [[User:Eufalesio/Harmonic tiers]] for a more detailed analysis of primes.
+My main drive in music is '''expanding tonality''' with higher-limit JI: at the very least in the 5- or 7-limit, and at the very most in the 29- limit. My favorite subgroup is the 2.3.5.7.11.13.19 See [[User:Eufalesio/Harmonic tiers]] for my analysis of primes.
 My fav edos are thusly 12, 19, 22, 31, 53, 72, 94, 159, 217, 311.
@@ Line 42: / Line 42: @@
 /1
 And the [[Carlos harmonic scale]]. My approach to these JI scales is either fudging or tempering with EDOs.
+=== Theory ===
+Interested in naming stuff and knowing what we're talking about with some semblance of certainty. In terms of compositional theory, I believe that the best approach to music is to follow the harmonic series as closely as possible, using low complexity otonality, harmonic segments melodically, and low-prime-limit expanded tonality.
+I do not believe that the harmonic series and the subharmonic series are mirror versions of each other. They are only in pitch space, but in any real musical context, their functions are vastly different. Harmonics play inside harmony, subharmonics define harmony. Since subharmonics define harmony, concatenating many subharmonics leads to an extremely numerically complex chord with a huge denominator. Bad. Melodically, subharmonics are incredibly potent, but for different reasons than harmonics.
+Ultimately I care more about praxis than about theory, my theory of theory being that it should be as descriptive, simple and intuitive as possible or be ultimately derived from praxis entirely, and all the thinking power should go to the actual music making. Theories are still important because the mental framework with which one makes music can, and does change, and learning about new ways to look at the same concepts is an important skill as an artist, I'd say.
 === Worldbuilding ===
@@ Line 56: / Line 63: @@
 * [[User:Eufalesio/Eufa's JI voicing notation]]
 * [[User:Eufalesio/Punctional Just System]] (joke)
-* [[User:Eufalesio/PLIN]] (my way of thinking about intervals)
+* [[User:Eufalesio/PLIN]] (my way of thinking about intervals, needs some more work)
 * [[User:Eufalesio/Moture's Extended Functional Just System]] (bad translation of someone's article)
 * [[User:Eufalesio/Proposal to the Functional Just System]]
 * [[User:Eufalesio/Enumeration]] (also edited by [[Kite Giedraitis]], deprecated article, see [[EFR]])
-*
+*[[User:Eufalesio/Fifth scale tree]] (proposal)
+*[[User:Eufalesio/Holopyth and Hemipyth]] (systematic nomenclature for all of Hemipyth)
 The list will be expanded further as more articles are published.