User talk:SAKryukov: Difference between revisions

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:::::::: Thanks! I should point out that 159edo doesn't simplify things that much- only joining the Locrian and Lydian diatonic scales into modes of a single diatonic scale. Besides, when you actually look at the harmonic functions of the notes in the different diatonic "modes", you find that it actually ''does'' make sense to try and separate them due to their differing tuning proclivities. I still have to do some work on that page though. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 16:33, 24 November 2020 (UTC)

::::::::: Oh, yes, I already mentioned that I cannot even imagine dealing with such high number of microtones. I still have to figure out why it makes sense. And yes, from the functional point of view, separate natural diatonic modes have distinctly different properties, so it totally makes sense to study those functions separately, absolutely.

::::::::: Oh, yes, I already mentioned that I cannot even imagine dealing with such high number of microtones. I still have to figure out why it makes sense. (Any quick hints? :-) And yes, from the functional point of view, separate natural diatonic modes have distinctly different properties, so it totally makes sense to study those functions separately, absolutely.

::::::::: Have you even thought about usable N-EDO systems, why N>12 are always prime numbers (I don't want to consider something like 22-EDO (which is very special) or 24-EDO (which has nothing new at all))?! It resembles the problem of remarkable [https://en.wikipedia.org/wiki/Ulam_spiral Ulam spiral], as far as I can see, it still doesn't have a theoretical explanation. Before finding any literature, I started from the algorithm for finding EDOs other than 12-EDO using different criteria of balanced approximating harmonic intervals, and immediately obtained those prime-number EDOs. I called the phenomenon "musical Ulam spiral". And I never found any publications trying to explain it.

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 :::::::: Thanks!  I should point out that 159edo doesn't simplify things that much- only joining the Locrian and Lydian diatonic scales into modes of a single diatonic scale.  Besides, when you actually look at the harmonic functions of the notes in the different diatonic "modes", you find that it actually ''does'' make sense to try and separate them due to their differing tuning proclivities.  I still have to do some work on that page though. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 16:33, 24 November 2020 (UTC)
-::::::::: Oh, yes, I already mentioned that I cannot even imagine dealing with such high number of microtones. I still have to figure out why it makes sense. And yes, from the functional point of view, separate natural diatonic modes have distinctly different properties, so it totally makes sense to study those functions separately, absolutely.
+::::::::: Oh, yes, I already mentioned that I cannot even imagine dealing with such high number of microtones. I still have to figure out why it makes sense. (Any quick hints? :-) And yes, from the functional point of view, separate natural diatonic modes have distinctly different properties, so it totally makes sense to study those functions separately, absolutely.
 ::::::::: Have you even thought about usable N-EDO systems, why N>12 are always prime numbers (I don't want to consider something like 22-EDO (which is very special) or 24-EDO (which has nothing new at all))?! It resembles the problem of remarkable [https://en.wikipedia.org/wiki/Ulam_spiral Ulam spiral], as far as I can see, it still doesn't have a theoretical explanation. Before finding any literature, I started from the algorithm for finding EDOs other than 12-EDO using different criteria of balanced approximating harmonic intervals, and immediately obtained those prime-number EDOs. I called the phenomenon "musical Ulam spiral". And I never found any publications trying to explain it.