User talk:SAKryukov: Difference between revisions

Line 26:

:::::: Well, all I have to say about dealings with 159edo- or any other large edo for that matter- is to consider all of the pitches as belonging to one of two classes "main" and "variant", and since I have a background in 24edo, I've started working with chains of 3/2 and 11/8. Yes, I'm very classical-minded in terms of my music theory, however, see [[User:Aura/Aura's Diatonic Scales|my page on Diatonic scales]] for my particular approach to diatonic scales. For the record, I do think of the traditional seventh of Ionian mode as being in some sense the "Natural Seventh", as it occurs in the harmonic series as the 15th harmonic, and furthermore, when you take the 8th through 16th harmonics, you can remove the 14th harmonic and still have a heptatonic scale that demonstrates [https://en.wikipedia.org/wiki/Rothenberg_propriety Rothenberg propriety], whereas removing the 15th harmonic instead doesn't give you such a scale. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 16:12, 24 November 2020 (UTC)

::::::: Okay, I finally got myself some time to learn the material on your "Aura's Diatonic Scales" page, listen to the sample. Aha, now, I'm really getting into it.

::::::: It may sound trivial, but different interval sets for different modes resembles me my own idea on the microtonal instruments, before I started to work with EDOs. I imagined that the prospective instrument should have some control shifting from mode to mode on the fly. By this change, I meant that the keys should change their frequencies, but always get different rational-number (harmonic) intervals. (Of course, the idea is also limiting: for example, it is not suitable for the "atonal" music and similar less "classical" approaches) Now I'm close to final part of the EDO work, plan to make another release and started to dig into purely rational intervals, similar to your work. I'll try to analyze your scales. As I already mentioned, I need a tool to freely and quickly play with various structures ("play" in both senses of the word: quickly modify and visualize and play sounds), only then I can understand things. Anyway, thank you for the interesting information.

::::::: As to one of my microtonal instruments, one interesting property is that the change of EDOs is "locally conservative" to the fingering, can you see what I mean? In certain sense, it makes the change-tuning-on-the-fly approach not necessary, but I'm still not giving it up...

::::::: Nice reference material on diatonic scales! Interestingly how EDO simplify things: for any 7-element diatonic system rendered as any EDO, it would be enough to describe only one mode, and then say: all other modes are derived by starting from the next element and then cycling through the remaining 6 sequential elements, and then shift by one until you get all 7 modern "natural" diatonic modes. It's remarkable that many musicians don't capture this simple idea from a school where they are taught each natural mode separately.

@@ Line 26: / Line 26: @@
 :::::: Well, all I have to say about dealings with 159edo- or any other large edo for that matter- is to consider all of the pitches as belonging to one of two classes "main" and "variant", and since I have a background in 24edo, I've started working with chains of 3/2 and 11/8.  Yes, I'm very classical-minded in terms of my music theory, however, see [[User:Aura/Aura's Diatonic Scales|my page on Diatonic scales]] for my particular approach to diatonic scales.  For the record, I do think of the traditional seventh of Ionian mode as being in some sense the "Natural Seventh", as it occurs in the harmonic series as the 15th harmonic, and furthermore, when you take the 8th through 16th harmonics, you can remove the 14th harmonic and still have a heptatonic scale that demonstrates [https://en.wikipedia.org/wiki/Rothenberg_propriety Rothenberg propriety], whereas removing the 15th harmonic instead doesn't give you such a scale. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 16:12, 24 November 2020 (UTC)
+::::::: Okay, I finally got myself some time to learn the material on your "Aura's Diatonic Scales" page, listen to the sample. Aha, now, I'm really getting into it.
+::::::: It may sound trivial, but different interval sets for different modes resembles me my own idea on the microtonal instruments, before I started to work with EDOs. I imagined that the prospective instrument should have some control shifting from mode to mode on the fly. By this change, I meant that the keys should change their frequencies, but always get different rational-number (harmonic) intervals. (Of course, the idea is also limiting: for example, it is not suitable for the "atonal" music and similar less "classical" approaches) Now I'm close to final part of the EDO work, plan to make another release and started to dig into purely rational intervals, similar to your work. I'll try to analyze your scales. As I already mentioned, I need a tool to freely and quickly play with various structures ("play" in both senses of the word: quickly modify and visualize and play sounds), only then I can understand things. Anyway, thank you for the interesting information.
+::::::: As to one of my microtonal instruments, one interesting property is that the change of EDOs is "locally conservative" to the fingering, can you see what I mean? In certain sense, it makes the change-tuning-on-the-fly approach not necessary, but I'm still not giving it up...
 ::::::: Nice reference material on diatonic scales! Interestingly how EDO simplify things: for any 7-element diatonic system rendered as any EDO, it would be enough to describe only one mode, and then say: all other modes are derived by starting from the next element and then cycling through the remaining 6 sequential elements, and then shift by one until you get all 7 modern "natural" diatonic modes. It's remarkable that many musicians don't capture this simple idea from a school where they are taught each natural mode separately.