User talk:SAKryukov: Difference between revisions

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::: I think I understand the idea, not sure that this is the correct understanding. First of all, a larger EDO is ''almost never'' a superset of a smaller EDO, because it would be the defeat of the purpose to provide a better approximation to harmonic intervals using more tones. Naturally, you can use a ''subset'' of a larger EDO, corresponding to some smaller EDO (corresponding tones can be simply identical, but only approximately) and use this subset. Perhaps it's just the term "mimicking" sounded confusing to me. — [[User:SAKryukov|SA]], ''Sunday 2020 December 6, 18:55 UTC''

::: As to deep voices: I meant something much more basic: to me, more deep voices and generally the amount of lower voices sounds more tolerable for the ears, and overly high, especially high-frequency noises, sounds more irritating. I noticed that historically the present-day trend is to emphasize higher pitches, even bass and baritone singers are somewhat rarer these days. I did not mean something like "building from the bass", however, this is an interesting topic. Notably, the Baroque perception of music was different from the modern. These days, we typically hear the main themes in a higher-pitch part and then pay attention to the other detail, including bass. In Baroque, basses played much more fundamental role. — [[User:SAKryukov|SA]], ''Sunday 2020 December 6, 18:55 UTC''

:::: To me in music that is built from the bass upwards, the lowest bass serves as the driver of how the accompaniment moves- it is the line the all of the chords and stuff are built on top of, and the lowest bass line, along with the melody, both exert influence on one another at different times. The problem I have with too many deep voices is that even thirds in the bass can sound rather grating when the notes in question are too low, more so than with higher pitches. Higher pitches are more irritating when they're played in the wrong timbers and or when played too loud. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 19:09, 6 December 2020 (UTC)

: I'm busy with my platform and keyboard programming. I decided to take a much wider road: develop some more and some replacement visual components corresponding to different keyboards, including a new one suitable for your paradiatonic constructs — my idea is to present 7 scales at the same time on a single keyboard, still thinking of some form of switching modes on the fly, combined with transpositions, or something like that. At the same time, I implemented a prototype for the playable lattice presented by Kite Giedraitis: [[Color_notation|Color_notation]]. Even though it is called "notation", the main point here is the choice of the tonal system itself, which can be reduced to the choice of a 4-generator set, and its mapping to the geometry. (Why, why musicians often mess up musical and notation aspects together? Didn't they figure out that tight coupling is a big anti-pattern?) I've chosen to implement the 27-key variant, which I consider as a good variant of an "extended just" scale. Are you familiar with this particular system? What do you think? — [[User:SAKryukov|SA]], ''Sunday 2020 December 6, 18:39 UTC''

:: Ah. That makes sense. While I am familiar with color notation to an extent, I should point out that Kite and I have a disagreement when it comes to the usage of intervals like the 40/27 grave fifth. For instance, Kite thinks that interval ought to just be avoided whenever possible, while I think that 40/27 is actually useful when in the right position within a scale and in the hands of the right composer. If you are asking whether or not I'm familiar with a 27-key system, I have to say that I'm mostly familiar with the traditional 12-key layout when it comes to actually playing on instruments. That said, I do think I'm willing to experiment with other key layouts- that is, assuming I ever have the funds to get my hands on such things as I really don't have a lot of money. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 18:54, 6 December 2020 (UTC)

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 ::: I think I understand the idea, not sure that this is the correct understanding. First of all, a larger EDO is ''almost never'' a superset of a smaller EDO, because it would be the defeat of the purpose to provide a better approximation to harmonic intervals using more tones. Naturally, you can use a ''subset'' of a larger EDO, corresponding to some smaller EDO (corresponding tones can be simply identical, but only approximately) and use this subset. Perhaps it's just the term "mimicking" sounded confusing to me. &mdash;&nbsp;[[User:SAKryukov|SA]],&nbsp;''Sunday&nbsp;2020&nbsp;December&nbsp;6,&nbsp;18:55&nbsp;UTC''
-::: As to deep voices: I meant something much more basic: to me, more deep voices and generally the amount of lower voices sounds more tolerable for the ears, and overly high, especially high-frequency noises, sounds more irritating. I noticed that historically the present-day trend is to emphasize higher pitches, even bass and baritone singers are somewhat rarer these days. I did not mean something like "building from the bass", however, this is an interesting topic. Notably, the Baroque perception of music was different from the modern. These days, we typically hear the main themes in a higher-pitch part and then pay attention to  the other detail, including bass. In Baroque, basses played much more fundamental role. &mdash;&nbsp;[[User:SAKryukov|SA]],&nbsp;''Sunday&nbsp;2020&nbsp;December&nbsp;6,&nbsp;18:55&nbsp;UTC''
+::: As to deep voices: I meant something much more basic: to me, more deep voices and generally the amount of lower voices sounds more tolerable for the ears, and overly high, especially high-frequency noises, sounds more irritating. I noticed that historically the present-day trend is to emphasize higher pitches, even bass and baritone singers are somewhat rarer these days. I did not mean something like "building from the bass", however, this is an interesting topic. Notably, the Baroque perception of music was different from the modern. These days, we typically hear the main themes in a higher-pitch part and then pay attention to the other detail, including bass. In Baroque, basses played much more fundamental role. &mdash;&nbsp;[[User:SAKryukov|SA]],&nbsp;''Sunday&nbsp;2020&nbsp;December&nbsp;6,&nbsp;18:55&nbsp;UTC''
+:::: To me in music that is built from the bass upwards, the lowest bass serves as the driver of how the accompaniment moves- it is the line the all of the chords and stuff are built on top of, and the lowest bass line, along with the melody, both exert influence on one another at different times.  The problem I have with too many deep voices is that even thirds in the bass can sound rather grating when the notes in question are too low, more so than with higher pitches.  Higher pitches are more irritating when they're played in the wrong timbers and or when played too loud. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 19:09, 6 December 2020 (UTC)
 : I'm busy with my platform and keyboard programming. I decided to take a much wider road: develop some more and some replacement visual components corresponding to different keyboards, including a new one suitable for your paradiatonic constructs — my idea is to present 7 scales at the same time on a single keyboard, still thinking of some form of switching modes on the fly, combined with transpositions, or something like that. At the same time, I implemented a prototype for the playable lattice presented by Kite Giedraitis: [[Color_notation|Color_notation]]. Even though it is called "notation", the main point here is the choice of the tonal system itself, which can be reduced to the choice of a 4-generator set, and its mapping to the geometry. (Why, why musicians often mess up musical and notation aspects together? Didn't they figure out that tight coupling is a big anti-pattern?) I've chosen to implement the 27-key variant, which I consider as a good variant of an "extended just" scale. Are you familiar with this particular system? What do you think? &mdash;&nbsp;[[User:SAKryukov|SA]],&nbsp;''Sunday&nbsp;2020&nbsp;December&nbsp;6,&nbsp;18:39&nbsp;UTC''
 :: Ah.  That makes sense.  While I am familiar with color notation to an extent, I should point out that Kite and I have a disagreement when it comes to the usage of intervals like the 40/27 grave fifth.  For instance, Kite thinks that interval ought to just be avoided whenever possible, while I think that 40/27 is actually useful when in the right position within a scale and in the hands of the right composer.   If you are asking whether or not I'm familiar with a 27-key system, I have to say that I'm mostly familiar with the traditional 12-key layout when it comes to actually playing on instruments.  That said, I do think I'm willing to experiment with other key layouts- that is, assuming I ever have the funds to get my hands on such things as I really don't have a lot of money. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 18:54, 6 December 2020 (UTC)