Eufalesio
Joined 27 July 2025
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=== Music === | === Music === | ||
My main drive in music is '''expanding tonality''' with | 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 19 added into the mix. See [[User:Eufalesio/Harmonic tiers]] for my analysis of primes. | ||
My favorite edo for most purposes is [[94edo]]. I don't use it to its entirety, but rather only for its cassandra yazalatha(na). It's so good, so easy to work with, and very decent. Worse ya, but I can swallow it. | My favorite edo for most purposes is [[94edo]]. I don't use it to its entirety, but rather only for its cassandra yazalatha(na). It's so good, so easy to work with, and very decent. Worse ya, but I can swallow it. | ||
The biggest EDOs I compose in is [[270edo]], since it offers an unbeatably good yazalathana. 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 biggest EDOs I compose in is [[270edo]], since it offers an unbeatably good [[2.3.5.7.11.13.19 subgroup|yazalathana]]. 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. | ||
My fav scales are Pyth-like 5L 7s and subsets, [[Ptolemy's intense diatonic|Zarlino]], [[Duodene]], [[8afdo]], and ''Ngwoóghe'' [ŋwǒːɣe] ''or Góqäi'' [ˈgɤqæi] | My fav scales are Pyth-like 5L 7s and subsets, [[Ptolemy's intense diatonic|Zarlino]], [[Duodene]], [[8afdo]], and ''Ngwoóghe'' [ŋwǒːɣe] ''or Góqäi'' [ˈgɤqæi] | ||
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=== Theory === | === Theory === | ||
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 13-limit expanded tonality, with '''very''' sparse and irregular additions of primes 19 and ''possibly'' 17. | 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 13-limit expanded tonality, with '''very''' sparse and irregular additions of primes 19 and ''possibly'' 17. | ||
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 | I don't care about essential tempering, VAOs, MOSes beyond the theoretical, or structural exploiting of edos and their symmetries barring easier navigation. JI is the journey, and temperaments are my boat. | ||
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 a chord with pieces that don't fit. 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. | 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. | ||
I stopped doing tuning theory, essentially settling for [[User:Eufalesio/Ultimate|one temperament]], which allows me to meet all my goals and expand tonality exactly the way I want. By having a dead-accurate 13-limit. This system dances at the bleeding edge of JI, edos, temperaments and practicality, but I won't spoil you the fun. Have a read. ''Join me in my quest.'' | '''I stopped doing tuning theory''', essentially settling for [[User:Eufalesio/Ultimate|one temperament]], which allows me to meet all my goals and expand tonality exactly the way I want. By having a dead-accurate 13-limit. This system dances at the bleeding edge of JI, edos, temperaments and practicality, but I won't spoil you the fun. <big>Have a read. ''Join me in my quest.''</big> | ||
=== Worldbuilding === | === Worldbuilding === | ||
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* [[User:Eufalesio/How to build edos in DAWs]] | * [[User:Eufalesio/How to build edos in DAWs]] | ||
* [[User:Eufalesio/532zpi]] | * [[User:Eufalesio/532zpi]] | ||
* [[User:Eufalesio/Punctional Just System]] (joke) | * [[User:Eufalesio/Punctional Just System]] (joke) | ||
* [[User:Eufalesio/PLIN]] (my way of thinking about intervals, needs some more work) | * [[User:Eufalesio/PLIN]] (my way of thinking about intervals, needs some more work) | ||