User:Aura/Aura's Ideas of Consonance: Difference between revisions
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The span of the harmonic series between the 32nd and 64th harmonics sees the first true appearance of Antitonic harmony in the form of the 45th harmonic. Similarly, the span of the subharmonic series between the 32nd and 64th subharmonics sees the first true appearance of Antitonic harmonies in the form of the 45th subharmonic. Antitonic harmonies, as per their name, have a way of clashing with the Tonic harmony. Prior to these particular octaves, one cannot really speak of the appearance of notes and harmonies that oppose the tonality of the Tonic, hence why the medial harmonies begin at the 32nd harmonic and 32nd subharmonic. From these particular octaves of the harmonic series and the subharmonic series, the medial harmonies extend all the way out to the 1024th harmonic and the the 1024th subharmonic- all on account of various intervals that are closely associated with some of the Tonic's more intimate harmonies. It is in this region that one also begins to see really good approximations for 3-limit and 5-limit intervals that are otherwise disconnected from the Tonic, such as the 77th harmonic and the 77th subharmonic. However, being so far out from the Tonic means that the degree of connectivity with the Tonic is lessened compared to that of the proximal harmonies. | The span of the harmonic series between the 32nd and 64th harmonics sees the first true appearance of Antitonic harmony in the form of the 45th harmonic. Similarly, the span of the subharmonic series between the 32nd and 64th subharmonics sees the first true appearance of Antitonic harmonies in the form of the 45th subharmonic. Antitonic harmonies, as per their name, have a way of clashing with the Tonic harmony. Prior to these particular octaves, one cannot really speak of the appearance of notes and harmonies that oppose the tonality of the Tonic, hence why the medial harmonies begin at the 32nd harmonic and 32nd subharmonic. From these particular octaves of the harmonic series and the subharmonic series, the medial harmonies extend all the way out to the 1024th harmonic and the the 1024th subharmonic- all on account of various intervals that are closely associated with some of the Tonic's more intimate harmonies. It is in this region that one also begins to see really good approximations for 3-limit and 5-limit intervals that are otherwise disconnected from the Tonic, such as the 77th harmonic and the 77th subharmonic. However, being so far out from the Tonic means that the degree of connectivity with the Tonic is lessened compared to that of the proximal harmonies. | ||
=== Distal Harmonies=== | === Distal Harmonies === | ||
Out beyond the 1024th harmonic and the 1024th subharmonic lie the distal harmonies- these are seldom worth worrying about because they are so far out from the Tonic. | Out beyond the 1024th harmonic and the 1024th subharmonic lie the distal harmonies- these are seldom worth worrying about because they are so far out from the Tonic. | ||
== Disconnected Intervals == | === Disconnected Intervals === | ||
At least the Distal Harmonies maintain a remote connection to the Tonic, but intervals that belong in this class don't have such a privilege. Even though a number of these might act as harmonic entropy minima, such a status means nothing when it comes to connectivity, and thus, intervals in this class are particularly likely to gravitate towards notes other than the Tonic. | At least the Distal Harmonies maintain a remote connection to the Tonic, but intervals that belong in this class don't have such a privilege. Even though a number of these might act as harmonic entropy minima, such a status means nothing when it comes to connectivity, and thus, intervals in this class are particularly likely to gravitate towards notes other than the Tonic. | ||