User talk:Godtone: Difference between revisions

Line 13:

:: I guess at the end of the day, my point is that harmony has a way of exerting some measure of control over the tuning of the notes in the melody, and thus the intervals that are used as a result. If your preference is different, well, that's the way it is, but nevertheless, more precise tunings do matter, and although there appears to be some degree of tolerance for mistuning, such as in how 27/16 and 32/19 are virtually indistinguishable, I'd still prefer to take some finer distinctions more seriously. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 19:52, 18 December 2020 (UTC)

::: 15/8 is a pretty different case to 16/15 IMO, and one of the reasons for preferring 15/14 and 17/16 over 16/15 is because they represent better intervals for ''stepping upwards'' while 16/15 represents a good interval for ''stepping downwards'', plus personal preference as aforementioned. Also consider that 15/8 can be expressed as (3/2)(5/4), both already existing in the list of superparticulars, while 16/15 = (4/3)/(5/4) and so is again implicit in existing superparticulars. This means that the lower superparticulars can be used to emphasize/help evidence these subtler intervals' existences in a chord. In other words, I believe prioritising the accuracy of the simpler superparticulars is worth sacrificing the accuracy of ''some'' more complex ones but that specific complex superparticulars of interest should ideally especially be represented with accuracy. For example, for stepping up, 15/14 is a pleasing wider minor second to me with a nice ring to it, and 17/16 a darker, more shimmery and slightly more familiar alternative. And it isn't that I don't take finer distinctions more seriously, just that, in the context of approximate systems, you (IMO) kind of compromise their 'seriousness' (with respect to JI) anyway, and I see simplification as a good thing. Also, IMO, 16/15's power of 2 isn't very easy to hear unless there are more tones emphasizing the 16 and I think this applies more generally for intervals whose numerators are powers of 2 greater than 8. Oh and out of curiosity, what is the largest (in cents) comma you're comfortable with (intentionally) tempering? [[User:Godtone|Godtone]] ([[User talk:Godtone|talk]]) 21:57, 20 December 2020 (UTC)

Revision as of 19:52, 18 December 2020 view source Aura (talk \| contribs) autopatrolled, emailconfirmed 6,012 edits No edit summary ← Older edit		Revision as of 21:57, 20 December 2020 view source Godtone (talk \| contribs) autopatrolled, emailconfirmed 2,583 edits →Welcome Newer edit →
Line 13:		Line 13:

	:: I guess at the end of the day, my point is that harmony has a way of exerting some measure of control over the tuning of the notes in the melody, and thus the intervals that are used as a result. If your preference is different, well, that's the way it is, but nevertheless, more precise tunings do matter, and although there appears to be some degree of tolerance for mistuning, such as in how 27/16 and 32/19 are virtually indistinguishable, I'd still prefer to take some finer distinctions more seriously. --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:52, 18 December 2020 (UTC)		:: I guess at the end of the day, my point is that harmony has a way of exerting some measure of control over the tuning of the notes in the melody, and thus the intervals that are used as a result. If your preference is different, well, that's the way it is, but nevertheless, more precise tunings do matter, and although there appears to be some degree of tolerance for mistuning, such as in how 27/16 and 32/19 are virtually indistinguishable, I'd still prefer to take some finer distinctions more seriously. --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 19:52, 18 December 2020 (UTC)

			::: 15/8 is a pretty different case to 16/15 IMO, and one of the reasons for preferring 15/14 and 17/16 over 16/15 is because they represent better intervals for ''stepping upwards'' while 16/15 represents a good interval for ''stepping downwards'', plus personal preference as aforementioned. Also consider that 15/8 can be expressed as (3/2)(5/4), both already existing in the list of superparticulars, while 16/15 = (4/3)/(5/4) and so is again implicit in existing superparticulars. This means that the lower superparticulars can be used to emphasize/help evidence these subtler intervals' existences in a chord. In other words, I believe prioritising the accuracy of the simpler superparticulars is worth sacrificing the accuracy of ''some'' more complex ones but that specific complex superparticulars of interest should ideally especially be represented with accuracy. For example, for stepping up, 15/14 is a pleasing wider minor second to me with a nice ring to it, and 17/16 a darker, more shimmery and slightly more familiar alternative. And it isn't that I don't take finer distinctions more seriously, just that, in the context of approximate systems, you (IMO) kind of compromise their 'seriousness' (with respect to JI) anyway, and I see simplification as a good thing. Also, IMO, 16/15's power of 2 isn't very easy to hear unless there are more tones emphasizing the 16 and I think this applies more generally for intervals whose numerators are powers of 2 greater than 8. Oh and out of curiosity, what is the largest (in cents) comma you're comfortable with (intentionally) tempering? [[User:Godtone\|Godtone]] ([[User talk:Godtone\|talk]]) 21:57, 20 December 2020 (UTC)