Overtone scale: Difference between revisions
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[[Zhea Erose]] has considered over-p scales where p is a prime, which she calls ''primodal scales''. To construct a p-primodal scale, we fix a prime ''p'' to be the denominator and take intervals of the form n/p, where n ≥ p. Zhea often takes n from a certain "lineal segment" (a segment of the harmonic series spanning an octave counting from p) or a subset thereof. If we use p ≤ n ≤ 2p, this would result in a scale 1/1, (p+1)/p, (p+2)/p, .... Zhea may add a 3/2 to the scale root, which corresponds to adding 3p/p. | [[Zhea Erose]] has considered over-p scales where p is a prime, which she calls ''primodal scales''. To construct a p-primodal scale, we fix a prime ''p'' to be the denominator and take intervals of the form n/p, where n ≥ p. Zhea often takes n from a certain "lineal segment" (a segment of the harmonic series spanning an octave counting from p) or a subset thereof. If we use p ≤ n ≤ 2p, this would result in a scale 1/1, (p+1)/p, (p+2)/p, .... Zhea may add a 3/2 to the scale root, which corresponds to adding 3p/p. | ||
Primodality seems designed to emphasize the identity of the "tonic" as the | Primodality seems designed to emphasize the identity of the "tonic" as the pth harmonic; this may help in hearing higher primes such as 17, 19, and 23 which may be difficult to hear otherwise as the overtone of some fundamental. | ||
==A Solfege System== | ==A Solfege System== | ||