User talk:SAKryukov: Difference between revisions

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::::::::::::: Thank you very much, but you see, it may sound surprising, but I cannot hear much in these settings. To grasp it, I'll need to play it by myself. This is fairly simple. Let me give you an example and list some missing points. First, when you say "contains two chords consisting of C7, E7, G7 and A7", it may mean two "complex chords", such as first, C7+ E7 and second, G7+A7, or something else. When you name chords, I don't care about some detail, but need to know: which C7? in what tonal system? Usually, people using this notation assume 12-EDO. When you say "flattened" or "sharpened", I would need to know which degrees are changed. Even better to give not cent notation, but directly rational-number notation. This is one intentionally simplified example: you say "play C6 as 1, 5/4, 3/2, 5/3 followed by C6 as 1, 5/4, 3/2, 27/16, hear the difference" with your comment on what "weakens tone stability" and other function-related comments. With EDO, you could use the terms such as 12-EDO 3rd, 12-EDO 6th, possibly with ♯/♭. With other EDOs, ♯/♭ are ambiguous, so I add the number of microtones relative to the degree, such as: "41-EDO ♯2 6th". Then I'll easily play absolutely anything, no matter what you specify. — [[User:SAKryukov|SA]], ''Monday 2020 December 7, 00:39 UTC''

:::::::::::::: So, you need to play the audio file when you're by yourself? I understand. Still, given your comments, it sounds like I should perhaps clarify things for you. In this sound file, the two CM6 chords are both built on a C7 that has a frequency of roughly 2093.0045224048 Hz. The first CM6 chord has the configuration of roughly 1/1-5/4-3/2-27/16, while the second CM6 chord has the configuration of roughly 1/1-5/4-3/2-5/3. Because a note forming a 5/3 ratio with C occurs very early in the harmonic series of F and does not occur as an interval distance from C in C's own harmonic series, or even the C's own subharmonic series, the 1/1-5/4-3/2-5/3 configuration of the CM6 chord has a strong virtual fundamental effect that implies a Tonic of F even when F itself is not a direct component of the chord, thus destabilizing the 1/1-5/4-3/2-5/3 on C in relation to the key of C Major. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:11, 7 December 2020 (UTC)

:::::::::::::: So, you need to play the audio file when you're by yourself? I understand. Still, given your comments, it sounds like I should perhaps clarify things for you. In this sound file, the two CM6 chords are both built on a C7 that has a frequency of roughly 2093.0045224048 Hz. The first CM6 chord has the configuration of roughly 1/1-5/4-3/2-27/16, while the second CM6 chord has the configuration of roughly 1/1-5/4-3/2-5/3. Because a note forming a 5/3 ratio with C occurs very early in the harmonic series of F and does not occur as an interval distance from C in C's own harmonic series, or even the C's own subharmonic series, the 1/1-5/4-3/2-5/3 configuration of the CM6 chord has a strong virtual fundamental effect that implies a Tonic of F even when F itself is not a direct component of the chord, thus destabilizing the 1/1-5/4-3/2-5/3 chord on C in relation to the key of C Major. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:11, 7 December 2020 (UTC)

::::::::::::: By the way, do you really still use MP3?! It is not just obsolete, it is stone age, with ridiculous quality and compression. Top Web standard is .opus, is supported by everything. Probably, MP3 is alive only due to the existence of the devices like car audio — nothing is so conservative as those weird people designing such devices. :-)

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 ::::::::::::: Thank you very much, but you see, it may sound surprising, but I cannot hear much in these settings. To grasp it, I'll need to play it by myself. This is fairly simple. Let me give you an example and list some missing points. First, when you say "contains two chords consisting of C7, E7, G7 and A7", it may mean two "complex chords", such as first, C7+ E7 and second, G7+A7, or something else. When you name chords, I don't care about some detail, but need to know: which C7? in what tonal system? Usually, people using this notation assume 12-EDO. When you say "flattened" or "sharpened", I would need to know which degrees are changed. Even better to give not cent notation, but directly rational-number notation. This is one intentionally simplified example: you say "play C6 as 1, 5/4, 3/2, 5/3 followed by C6 as 1, 5/4, 3/2, 27/16, hear the difference" with your comment on what "weakens tone stability" and other function-related comments. With EDO, you could use the terms such as 12-EDO 3rd, 12-EDO 6th, possibly with ♯/♭. With other EDOs, ♯/♭ are ambiguous, so I add the number of microtones relative to the degree, such as: "41-EDO ♯2 6th". Then I'll easily play absolutely anything, no matter what you specify. &mdash;&nbsp;[[User:SAKryukov|SA]],&nbsp;''Monday&nbsp;2020&nbsp;December&nbsp;7,&nbsp;00:39&nbsp;UTC''
-:::::::::::::: So, you need to play the audio file when you're by yourself?  I understand.  Still, given your comments, it sounds like I should perhaps clarify things for you.  In this sound file, the two CM6 chords are both built on a C7 that has a frequency of roughly 2093.0045224048 Hz.  The first CM6 chord has the configuration of roughly 1/1-5/4-3/2-27/16, while the second CM6 chord has the configuration of roughly 1/1-5/4-3/2-5/3.  Because a note forming a 5/3 ratio with C occurs very early in the harmonic series of F and does not occur as an interval distance from C in C's own harmonic series, or even the C's own subharmonic series, the 1/1-5/4-3/2-5/3 configuration of the CM6 chord has a strong virtual fundamental effect that implies a Tonic of F even when F itself is not a direct component of the chord, thus destabilizing the 1/1-5/4-3/2-5/3 on C in relation to the key of C Major. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:11, 7 December 2020 (UTC)
+:::::::::::::: So, you need to play the audio file when you're by yourself?  I understand.  Still, given your comments, it sounds like I should perhaps clarify things for you.  In this sound file, the two CM6 chords are both built on a C7 that has a frequency of roughly 2093.0045224048 Hz.  The first CM6 chord has the configuration of roughly 1/1-5/4-3/2-27/16, while the second CM6 chord has the configuration of roughly 1/1-5/4-3/2-5/3.  Because a note forming a 5/3 ratio with C occurs very early in the harmonic series of F and does not occur as an interval distance from C in C's own harmonic series, or even the C's own subharmonic series, the 1/1-5/4-3/2-5/3 configuration of the CM6 chord has a strong virtual fundamental effect that implies a Tonic of F even when F itself is not a direct component of the chord, thus destabilizing the 1/1-5/4-3/2-5/3 chord on C in relation to the key of C Major. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:11, 7 December 2020 (UTC)
 ::::::::::::: By the way, do you really still use MP3?! It is not just obsolete, it is stone age, with ridiculous quality and compression. Top Web standard is .opus, is supported by everything. Probably, MP3 is alive only due to the existence of the devices like car audio — nothing is so conservative as those weird people designing such devices. :-)