19edo: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>

This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>

: This revision was by author [[User:MasonGreen1|MasonGreen1]] and made on <tt>2016-04-~~13 15~~:18:27 UTC</tt>.<br>

: This revision was by author [[User:MasonGreen1|MasonGreen1]] and made on <tt>2016-05-02 01:19:15 UTC</tt>.<br>

: The original revision id was <tt>~~579988845~~</tt>.<br>

: The original revision id was <tt>581829167</tt>.<br>

: The revision comment was: <tt></tt><br>

: The revision comment was: <tt>I think that's supposed to say 7th, not 17th. In fact, while 12edo does match the 17th harmonic, 19edo doesn't!</tt><br>

The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>

<h4>Original Wikitext content:</h4>

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=As a means of extending harmony=

Because 19 EDO allows for more blended, consonant harmonies than 12 EDO does, it can be a much better candidate for using alternate forms of harmony such as quartal, secondual, and poly chords. William Lynch suggests the use of seventh chords of various types to be the fundamental sonorities with a triad deemed as incomplete. Higher extensions involving the ~~17th~~ harmonic as well as other non diatonic chord extensions which tend to clash in 12 EDO blend much better in 19 EDO.

Because 19 EDO allows for more blended, consonant harmonies than 12 EDO does, it can be a much better candidate for using alternate forms of harmony such as quartal, secondual, and poly chords. William Lynch suggests the use of seventh chords of various types to be the fundamental sonorities with a triad deemed as incomplete. Higher extensions involving the 7th harmonic as well as other non diatonic chord extensions which tend to clash in 12 EDO blend much better in 19 EDO.

In addition, Joseph Yasser talks about the idea of a 12 tone supra diatonic scale where the 7 tone major scale in 19 EDO becomes akin to the pentatonic of western music; as it would sound to a future generation, ambiguous and not tonally fortified. As paraphrased "A system in which the undeniable laws of tonal gravity exist, yet in a much more complex tonal universe. " Yasser believed that music would eventually move to a 19 tone system with a 12 note supra diatonic scale would become the standard. While this has yet to happen, Yasser's concept of supra-diatonicity is intriguing and worth exploring for those wanting to extend ton<span style="line-height: 15.6000003814697px;">l</span><span style="line-height: 1.5;">aity without sounding too alien.</span>

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<h1 id="toc2"><a name="As a means of extending harmony"></a>As a means of extending harmony</h1>

Because 19 EDO allows for more blended, consonant harmonies than 12 EDO does, it can be a much better candidate for using alternate forms of harmony such as quartal, secondual, and poly chords. William Lynch suggests the use of seventh chords of various types to be the fundamental sonorities with a triad deemed as incomplete. Higher extensions involving the ~~17th~~ harmonic as well as other non diatonic chord extensions which tend to clash in 12 EDO blend much better in 19 EDO.<br />

Because 19 EDO allows for more blended, consonant harmonies than 12 EDO does, it can be a much better candidate for using alternate forms of harmony such as quartal, secondual, and poly chords. William Lynch suggests the use of seventh chords of various types to be the fundamental sonorities with a triad deemed as incomplete. Higher extensions involving the 7th harmonic as well as other non diatonic chord extensions which tend to clash in 12 EDO blend much better in 19 EDO.<br />

<br />

In addition, Joseph Yasser talks about the idea of a 12 tone supra diatonic scale where the 7 tone major scale in 19 EDO becomes akin to the pentatonic of western music; as it would sound to a future generation, ambiguous and not tonally fortified. As paraphrased &quot;A system in which the undeniable laws of tonal gravity exist, yet in a much more complex tonal universe. &quot; Yasser believed that music would eventually move to a 19 tone system with a 12 note supra diatonic scale would become the standard. While this has yet to happen, Yasser's concept of supra-diatonicity is intriguing and worth exploring for those wanting to extend ton<span style="line-height: 15.6000003814697px;">l</span><span style="line-height: 1.5;">aity without sounding too alien.</span><br />

@@ Line 1: / Line 1: @@
 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:MasonGreen1|MasonGreen1]] and made on <tt>2016-04-13 15:18:27 UTC</tt>.<br>
+: This revision was by author [[User:MasonGreen1|MasonGreen1]] and made on <tt>2016-05-02 01:19:15 UTC</tt>.<br>
-: The original revision id was <tt>579988845</tt>.<br>
+: The original revision id was <tt>581829167</tt>.<br>
-: The revision comment was: <tt></tt><br>
+: The revision comment was: <tt>I think that's supposed to say 7th, not 17th. In fact, while 12edo does match the 17th harmonic, 19edo doesn't!</tt><br>
 The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
 <h4>Original Wikitext content:</h4>
@@ Line 24: / Line 24: @@
 =As a means of extending harmony=
-Because 19 EDO allows for more blended, consonant harmonies than 12 EDO does, it can be a much better candidate for using alternate forms of harmony such as quartal, secondual, and poly chords. William Lynch suggests the use of seventh chords of various types to be the fundamental sonorities with a triad deemed as incomplete. Higher extensions involving the 17th harmonic as well as other non diatonic chord extensions which tend to clash in 12 EDO blend much better in 19 EDO.
+Because 19 EDO allows for more blended, consonant harmonies than 12 EDO does, it can be a much better candidate for using alternate forms of harmony such as quartal, secondual, and poly chords. William Lynch suggests the use of seventh chords of various types to be the fundamental sonorities with a triad deemed as incomplete. Higher extensions involving the 7th harmonic as well as other non diatonic chord extensions which tend to clash in 12 EDO blend much better in 19 EDO.
 In addition, Joseph Yasser talks about the idea of a 12 tone supra diatonic scale where the 7 tone major scale in 19 EDO becomes akin to the pentatonic of western music; as it would sound to a future generation, ambiguous and not tonally fortified. As paraphrased "A system in which the undeniable laws of tonal gravity exist, yet in a much more complex tonal universe. " Yasser believed that music would eventually move to a 19 tone system with a 12 note supra diatonic scale would become the standard. While this has yet to happen, Yasser's concept of supra-diatonicity is intriguing and worth exploring for those wanting to extend ton&lt;span style="line-height: 15.6000003814697px;"&gt;l&lt;/span&gt;&lt;span style="line-height: 1.5;"&gt;aity without sounding too alien.&lt;/span&gt;
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 &lt;br /&gt;
 &lt;!-- ws:start:WikiTextHeadingRule:6:&amp;lt;h1&amp;gt; --&gt;&lt;h1 id="toc2"&gt;&lt;a name="As a means of extending harmony"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:6 --&gt;As a means of extending harmony&lt;/h1&gt;
-  Because 19 EDO allows for more blended, consonant harmonies than 12 EDO does, it can be a much better candidate for using alternate forms of harmony such as quartal, secondual, and poly chords. William Lynch suggests the use of seventh chords of various types to be the fundamental sonorities with a triad deemed as incomplete. Higher extensions involving the 17th harmonic as well as other non diatonic chord extensions which tend to clash in 12 EDO blend much better in 19 EDO.&lt;br /&gt;
+  Because 19 EDO allows for more blended, consonant harmonies than 12 EDO does, it can be a much better candidate for using alternate forms of harmony such as quartal, secondual, and poly chords. William Lynch suggests the use of seventh chords of various types to be the fundamental sonorities with a triad deemed as incomplete. Higher extensions involving the 7th harmonic as well as other non diatonic chord extensions which tend to clash in 12 EDO blend much better in 19 EDO.&lt;br /&gt;
 &lt;br /&gt;
 In addition, Joseph Yasser talks about the idea of a 12 tone supra diatonic scale where the 7 tone major scale in 19 EDO becomes akin to the pentatonic of western music; as it would sound to a future generation, ambiguous and not tonally fortified. As paraphrased &amp;quot;A system in which the undeniable laws of tonal gravity exist, yet in a much more complex tonal universe. &amp;quot; Yasser believed that music would eventually move to a 19 tone system with a 12 note supra diatonic scale would become the standard. While this has yet to happen, Yasser's concept of supra-diatonicity is intriguing and worth exploring for those wanting to extend ton&lt;span style="line-height: 15.6000003814697px;"&gt;l&lt;/span&gt;&lt;span style="line-height: 1.5;"&gt;aity without sounding too alien.&lt;/span&gt;&lt;br /&gt;