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 See [[User:Eufalesio/Harmonic tiers]] for my analysis of primes.

My main drive in music is '''expanding tonality''' with 13-limit JI: at the very least in the ya or yaza, and at the very most in the 29-limit. My favorite subgroup is the [[13-limit|yazalatha]], with possible prime 19 added into the mix. 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.~~

My two edos of

The biggest EDOs I ~~would~~ compose ~~in are 217 and 311~~, since ~~they offer a high quality representation of the 31-limit~~. I will not use EDOs any higher than ~~311~~ because it's already a god-tier EDO, any higher and the step size is way too small to be faithfully percieved. ~~The reason why I would use an edo instead of JI+fudging is if I want to have an entire pitch gamut.~~

The biggest EDOs I compose is [[270edo]], since it offers an unbeatably good yazalatha. I will not use EDOs any higher than 270edo because it's already a god-tier EDO, any higher and the step size is way too small to be faithfully percieved. See [[User:Eufalesio/EDO impressions]] for more info.

~~The next~~ EDO ~~that achieves a similar level of consistency is 1600EDO, which is ''almost'' consistent to the 45-odd-limit, missing 50/39 and 39/25, but those intervals can be easily fudged into 9/7 and 14/9~~. ~~It and 2460edo are the biggest edos I would probably use~~

My fav scales are 5L 2s (Pyth-like or Meantone-like), Pyth-like 5L 7s, Schismic-like 12L 5s, Slendric-like 5L 6s.

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=== 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.

Fan of [[color notation]] and [[sagittal]]. 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.

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*[[User:Eufalesio/EDO_impressions]]

*[[User:Eufalesio/Table of Prime generator MOSes]]

*[[User:Eufalesio/Table_of_yazalatha_225-odd-limit_270edo]] (documentation for myself)

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 See [[User:Eufalesio/Harmonic tiers]] for my analysis of primes.
+My main drive in music is '''expanding tonality''' with 13-limit JI: at the very least in the ya or yaza, and at the very most in the 29-limit. My favorite subgroup is the [[13-limit|yazalatha]], with possible prime 19 added into the mix. 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.
+My two edos of
-The biggest EDOs I would compose in are 217 and 311, since they offer a high quality representation of the 31-limit. I will not use EDOs any higher than 311 because it's already a god-tier EDO, any higher and the step size is way too small to be faithfully percieved. The reason why I would use an edo instead of JI+fudging is if I want to have an entire pitch gamut.
+The biggest EDOs I compose is [[270edo]], since it offers an unbeatably good yazalatha. I will not use EDOs any higher than 270edo because it's already a god-tier EDO, any higher and the step size is way too small to be faithfully percieved. See [[User:Eufalesio/EDO impressions]] for more info.
-The next EDO that achieves a similar level of consistency is 1600EDO, which is ''almost'' consistent to the 45-odd-limit, missing 50/39 and 39/25, but those intervals can be easily fudged into 9/7 and 14/9. It and 2460edo are the biggest edos I would probably use
 My fav scales are 5L 2s (Pyth-like or Meantone-like), Pyth-like 5L 7s, Schismic-like 12L 5s, Slendric-like 5L 6s.
@@ Line 44: / Line 42: @@
 === 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.
+Fan of [[color notation]] and [[sagittal]]. 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.
@@ Line 72: / Line 70: @@
 *[[User:Eufalesio/EDO_impressions]]
 *[[User:Eufalesio/Table of Prime generator MOSes]]
+*[[User:Eufalesio/Table_of_yazalatha_225-odd-limit_270edo]] (documentation for myself)
 The list will be expanded further as more articles are published.