Dinner party rules: Difference between revisions

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* Every chord must be comprised of a chain of friends in which each note is a friend to every other note

* No note can have an enemy ~~except in tension chords~~

* No note can have an enemy

* No crowding except in tension chords

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Each of these rules contains terms that require explanation- especially for purposes of generalizing these rules to other [[EDO]]s.

A '''friend''' here is defined as a note separated from the starting note by either a close approximation of an [[LCJI]] interval, or else, a close approximation of a [[Delta-rational chord|delta-rational]] interval, without being too close to one another in acoustic proximity. Friends are most frequently prefect consonances, such as [[3/2]] or [[4/3]], imperfect consonances such as [[5/4]] or [[8/5]], or ambisonances such as [[7/4]] and [[8/7]]. However, sometimes imperfect dissonances also meet the definition of a friend, for example, neutral third like [[11/9]].

A '''friend''' here is defined as a note separated from the starting note by either a close approximation of an [[LCJI]] interval, or else, a close approximation of a [[Delta-rational chord|delta-rational]] interval, without being too close to one another in acoustic proximity. Friends are most frequently prefect consonances, such as [[3/2]] or [[4/3]], imperfect consonances such as [[5/4]] or [[8/5]], or ambisonances such as [[7/4]] and [[8/7]]. However, sometimes imperfect dissonances also meet the definition of a friend, for example, a neutral third like [[11/9]].

An '''enemy''' is defined here as a note separated from the starting note by an interval that causes intense discordance, or else, does not easily connect the two notes through LCJI or through delta-rational relationships. ~~It should be noted that perfect~~ dissonances are always enemies, ~~but~~ imperfect dissonances ~~sometimes also~~ meet this criterion.

An '''enemy''' is defined here as a note separated from the starting note by an interval that causes intense discordance, or else, does not easily connect the two notes through LCJI or through delta-rational relationships. Perfect dissonances are always enemies in some capacity or other, while imperfect dissonances are less likely to meet this criterion.

Friends and enemies are basically the two ends of a spectrum of compatibility. In higher EDO systems, this spectrum comes noticeably into play, and a numerical compatibility rating along this spectrum is generally going to be helpful. Furthermore, some notes can be called '''frenemies''' since they meet the definition of either an enemy or a friend only part of the time. In addition, one frequently has to worry about "ratio ambiguity"- that is, notes which can have more than one relationship to each other.

Friends and enemies are basically the two ends of a spectrum of compatibility. In higher EDO systems, this spectrum comes noticeably into play, and a numerical compatibility rating along this spectrum is generally going to be helpful. Furthermore, some notes can be called '''frenemies''' since they meet the definition of either an enemy or a friend only part of the time, or else, meet the definitions of both at the same time. In addition, one frequently has to worry about "ratio ambiguity"- that is, notes which can have more than one relationship to each other.

The phenomenon of '''crowding''' is a major source of dissonance. Specifically, it results when an interval separating two notes is either too small or too close to an octave-reduplication of the starting note. Perhaps the most common examples of intervals that cause this are [[9/8]] and [[15/8]], though intervals such as [[17/15]] are also known to cause crowding.

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 * Every chord must be comprised of a chain of friends in which each note is a friend to every other note
-* No note can have an enemy except in tension chords
+* No note can have an enemy
 * No crowding except in tension chords
@@ Line 10: / Line 10: @@
 Each of these rules contains terms that require explanation- especially for purposes of generalizing these rules to other [[EDO]]s.
-A '''friend''' here is defined as a note separated from the starting note by either a close approximation of an [[LCJI]] interval, or else, a close approximation of a [[Delta-rational chord|delta-rational]] interval, without being too close to one another in acoustic proximity.  Friends are most frequently prefect consonances, such as [[3/2]] or [[4/3]], imperfect consonances such as [[5/4]] or [[8/5]], or ambisonances such as [[7/4]] and [[8/7]].  However, sometimes imperfect dissonances also meet the definition of a friend, for example, neutral third like [[11/9]].
+A '''friend''' here is defined as a note separated from the starting note by either a close approximation of an [[LCJI]] interval, or else, a close approximation of a [[Delta-rational chord|delta-rational]] interval, without being too close to one another in acoustic proximity.  Friends are most frequently prefect consonances, such as [[3/2]] or [[4/3]], imperfect consonances such as [[5/4]] or [[8/5]], or ambisonances such as [[7/4]] and [[8/7]].  However, sometimes imperfect dissonances also meet the definition of a friend, for example, a neutral third like [[11/9]].
-An '''enemy''' is defined here as a note separated from the starting note by an interval that causes intense discordance, or else, does not easily connect the two notes through LCJI or through delta-rational relationships.  It should be noted that perfect dissonances are always enemies, but imperfect dissonances sometimes also meet this criterion.
+An '''enemy''' is defined here as a note separated from the starting note by an interval that causes intense discordance, or else, does not easily connect the two notes through LCJI or through delta-rational relationships.  Perfect dissonances are always enemies in some capacity or other, while imperfect dissonances are less likely to meet this criterion.
-Friends and enemies are basically the two ends of a spectrum of compatibility.  In higher EDO systems, this spectrum comes noticeably into play, and a numerical compatibility rating along this spectrum is generally going to be helpful.  Furthermore, some notes can be called '''frenemies''' since they meet the definition of either an enemy or a friend only part of the time.  In addition, one frequently has to worry about "ratio ambiguity"- that is, notes which can have more than one relationship to each other.
+Friends and enemies are basically the two ends of a spectrum of compatibility.  In higher EDO systems, this spectrum comes noticeably into play, and a numerical compatibility rating along this spectrum is generally going to be helpful.  Furthermore, some notes can be called '''frenemies''' since they meet the definition of either an enemy or a friend only part of the time, or else, meet the definitions of both at the same time.  In addition, one frequently has to worry about "ratio ambiguity"- that is, notes which can have more than one relationship to each other.
 The phenomenon of '''crowding''' is a major source of dissonance.  Specifically, it results when an interval separating two notes is either too small or too close to an octave-reduplication of the starting note.  Perhaps the most common examples of intervals that cause this are [[9/8]] and [[15/8]], though intervals such as [[17/15]] are also known to cause crowding.