User talk:Aura/Aura's Ideas on Tonality: Difference between revisions
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: "There should also be a simple process to get from the ratio to the name. Why are some ratios Alpharabian and some Betarabian? What simple test can be applied to say 729/704 to determine which category it falls into? What happens to the intervals that don't fit into either category?" The terms are "Alpharabian" and "Betarabian", and yes, there is a rudamentary test in place. Alpharabian intervals are generally either directly in the 2.11 subgroup, or, they differ from a nearby Pythagorean interval by either 33/32, 1331/1296, 8192/8019, 4096/3993, or 243/242. The system for denoting Betarabian intervals is less complete, but so far, Betarabian intervals usually differ from Alpharabian intervals by a rastma. When dealing with intervals that are distant by additionl rastmas, I would just use "Rastimic", "Birastmic", "Trirastmic", and so on. | : "There should also be a simple process to get from the ratio to the name. Why are some ratios Alpharabian and some Betarabian? What simple test can be applied to say 729/704 to determine which category it falls into? What happens to the intervals that don't fit into either category?" The terms are "Alpharabian" and "Betarabian", and yes, there is a rudamentary test in place. Alpharabian intervals are generally either directly in the 2.11 subgroup, or, they differ from a nearby Pythagorean interval by either 33/32, 1331/1296, 8192/8019, 4096/3993, or 243/242. The system for denoting Betarabian intervals is less complete, but so far, Betarabian intervals usually differ from Alpharabian intervals by a rastma. When dealing with intervals that are distant by additionl rastmas, I would just use "Rastimic", "Birastmic", "Trirastmic", and so on. | ||
: "As a practical matter, if some violinists or vocalists were performing 2.3.11 JI music, they would constantly be fudging the rastma. They might shift a pitch by 7¢, or let the tonic drift by 7¢. The neutral triad is an innate-comma chord (aka essentially tempered chord), and the 3rd might fall between 11/9 and 27/22. No listener would notice these slight discrepancies. The rastma would effectively be tempered out, and the notation could reflect this. Simply notate two notes only a rastma apart as the same note, and trust the performers' ears." On the contrary, I've met a music director who can hear a difference between 440 Hz and 438 Hz- a difference of less than 8¢, and I know that 7¢ is above the average JND, so performers fudging the rastma would likely drive this director batty. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) | : "As a practical matter, if some violinists or vocalists were performing 2.3.11 JI music, they would constantly be fudging the rastma. They might shift a pitch by 7¢, or let the tonic drift by 7¢. The neutral triad is an innate-comma chord (aka essentially tempered chord), and the 3rd might fall between 11/9 and 27/22. No listener would notice these slight discrepancies. The rastma would effectively be tempered out, and the notation could reflect this. Simply notate two notes only a rastma apart as the same note, and trust the performers' ears." On the contrary, I've met a music director who can hear a difference between 440 Hz and 438 Hz- a difference of less than 8¢, and I know that 7¢ is above the average JND, so performers fudging the rastma would likely drive this director batty unless it actually accomplished something musically, such as modulating to quartertone-based keys Jacob-Collier-style. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 11:03, 1 November 2020 (UTC) | ||