SAKryukov
Joined 23 November 2020
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:::::::::: Ah. I do know that some of the functions of certain ''rational'' intervals- namely tritones- are determined where they fall in relation to the ''irrational'' half-octave interval. This is how I separate the Antitonic intervals into "sycophants" and "tyrants". The fact that I'm one of the relatively few composers who seems to have worked rather extensively with Locrian mode (to where I now have a half-decent idea as to how to use it) has undoubtedly shaped my perceptions of tritones in particular... From there, I was able to draw on the fact that both 11/8 and 16/11 have relatively small numerators and denominators (as expected of the early members of the harmonic series and subharmonic series), yet, at the same time seem to have high harmonic entropy like most tritones. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 02:10, 25 November 2020 (UTC) | :::::::::: Ah. I do know that some of the functions of certain ''rational'' intervals- namely tritones- are determined where they fall in relation to the ''irrational'' half-octave interval. This is how I separate the Antitonic intervals into "sycophants" and "tyrants". The fact that I'm one of the relatively few composers who seems to have worked rather extensively with Locrian mode (to where I now have a half-decent idea as to how to use it) has undoubtedly shaped my perceptions of tritones in particular... From there, I was able to draw on the fact that both 11/8 and 16/11 have relatively small numerators and denominators (as expected of the early members of the harmonic series and subharmonic series), yet, at the same time seem to have high harmonic entropy like most tritones. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 02:10, 25 November 2020 (UTC) | ||
:::::::::: Perhaps I should start making more samples to demonstrate more of the kinds of structures where 11/8 and 16/11 prove to be very important. If you learn the way you say you do, then I suppose it's only fitting for you to have more of these kinds of samples, as I'm discovering that "Folly of a Drunk" only scratches the surface of what 11/8 and 16/11 are capable of. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 02:21, 25 November 2020 (UTC) | :::::::::: Perhaps I should start making more samples to demonstrate more of the kinds of structures where pitches related to the tonic by 11/8 and 16/11 prove to be very important. If you learn the way you say you do, then I suppose it's only fitting for you to have more of these kinds of samples, as I'm discovering that "Folly of a Drunk" only scratches the surface of what 11/8 and 16/11 are capable of. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 02:21, 25 November 2020 (UTC) | ||
:::::: For the record, if you're interested in advancing your research on Just Intonation, you might want to check out what I'm doing for [[Alpharabian tuning]]. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 21:45, 24 November 2020 (UTC) | :::::: For the record, if you're interested in advancing your research on Just Intonation, you might want to check out what I'm doing for [[Alpharabian tuning]]. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 21:45, 24 November 2020 (UTC) | ||