User talk:Godtone: Difference between revisions
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== Welcome == | |||
Hello there! I'm glad to finally see someone else here who thinks that powers of two in the denominator are important. That said, I would add that numerators with powers of two also have a similar effect (shared harmonics that suggest the Tonic as a fundamental of sorts), and thus also help to establish a sense of tonality. I call the type of consonance exhibited by intervals with powers of two in the numerator and the denominator "connectivity", though it arguably needs a better name. I also have a lower threshold for intervals that can meaningfully be distinguished- this being at around 7 cents- the reason being that intervals of that size are still noticeable when the two notes are played side by side, and that intervals that are 7-10 cents in difference from one another can still be exploited to seamlessly modulate between keys that are not on the same series of fifths. I also deal in 11-limit harmony quite frequently, and I should mention that I prefer 27/16 over 5/3 for the major sixth above the Tonic because of both the virtual fundamental effect and connectivity-related reasons. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:25, 18 December 2020 (UTC) | Hello there! I'm glad to finally see someone else here who thinks that powers of two in the denominator are important. That said, I would add that numerators with powers of two also have a similar effect (shared harmonics that suggest the Tonic as a fundamental of sorts), and thus also help to establish a sense of tonality. I call the type of consonance exhibited by intervals with powers of two in the numerator and the denominator "connectivity", though it arguably needs a better name. I also have a lower threshold for intervals that can meaningfully be distinguished- this being at around 7 cents- the reason being that intervals of that size are still noticeable when the two notes are played side by side, and that intervals that are 7-10 cents in difference from one another can still be exploited to seamlessly modulate between keys that are not on the same series of fifths. I also deal in 11-limit harmony quite frequently, and I should mention that I prefer 27/16 over 5/3 for the major sixth above the Tonic because of both the virtual fundamental effect and connectivity-related reasons. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 01:25, 18 December 2020 (UTC) | ||
: Hello Godtone. If there is anything you need, please ask. --[[User:Xenwolf|Xenwolf]] ([[User talk:Xenwolf|talk]]) 08:08, 18 December 2020 (UTC) | |||
Revision as of 08:08, 18 December 2020
Welcome
Hello there! I'm glad to finally see someone else here who thinks that powers of two in the denominator are important. That said, I would add that numerators with powers of two also have a similar effect (shared harmonics that suggest the Tonic as a fundamental of sorts), and thus also help to establish a sense of tonality. I call the type of consonance exhibited by intervals with powers of two in the numerator and the denominator "connectivity", though it arguably needs a better name. I also have a lower threshold for intervals that can meaningfully be distinguished- this being at around 7 cents- the reason being that intervals of that size are still noticeable when the two notes are played side by side, and that intervals that are 7-10 cents in difference from one another can still be exploited to seamlessly modulate between keys that are not on the same series of fifths. I also deal in 11-limit harmony quite frequently, and I should mention that I prefer 27/16 over 5/3 for the major sixth above the Tonic because of both the virtual fundamental effect and connectivity-related reasons. --Aura (talk) 01:25, 18 December 2020 (UTC)