William Lynch's thoughts on septimal harmony and 22edo
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Since I have alot of crap in my head and had no where to put it yet, I thought I'd write down a bunch of junk on here. =Chord Types= I personally feel that tetrads rather than triads should be considered full sonorities in 22 EDO and with septimal harmony in general. I consider there to be four main sonorities: Major, Minor, Super, and Sub. While there are triads for these, they generally sound more interesting and distinct as tetrads. Major tetrad is of course 4:5:6:7 while minor is 10:12:15:17, Super is 14:18:21:27 and Sub is 6:7:9:11. Now while obviously these chords don't all exist in the same temperament universe, I consider them all to be consonant resolved sonorities. Some argue that 14:18:21:27 is not a consonant tetrad but it is as it's built from perfect fifths just like the other three. I consider it a main sonority despite it's biting brassy flavor which I love. It's not just that, using 14:18:21:27 is much more distinct from major chords than just the super triad 14:18:21. While 14:18:21 can sound like a major triad, 14:18:21:27 doesn't really sound much at all like a major seventh chord. Now, I'm not saying triads are bad, but they tend to be boring in the septimal world. If you're using 5-limit porcupine or what have you, then go for triads however, I have a different approach I find useful :) =Superpyth= Ah Superpyth, that temperament which is sort-a like meantone, same structure but it's not the same at all. I personally think Superpyth demands an approach different than meantone, it tempers differently and sounds way too different. To be continued... =Porcupine= Porcupine is such a freakin awesome temperament and MOS. I have heard of people harmonizing the 7-note MOS with major and minor triads and while this works, it's kind of boring when there are only four. I personally like using subsets 8:9:10:11:12 clusters but spread out so the ninth and 11th are an octave higher than the root and 3rd.
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<html><head><title>William Lynch's Thoughts on Septimal Harmony and 22 EDO</title></head><body>Since I have alot of crap in my head and had no where to put it yet, I thought I'd write down a bunch of junk on here. <br /> <br /> <!-- ws:start:WikiTextHeadingRule:0:<h1> --><h1 id="toc0"><a name="Chord Types"></a><!-- ws:end:WikiTextHeadingRule:0 -->Chord Types</h1> I personally feel that tetrads rather than triads should be considered full sonorities in 22 EDO and with septimal harmony in general. I consider there to be four main sonorities: <br /> Major, Minor, Super, and Sub. While there are triads for these, they generally sound more interesting and distinct as tetrads. Major tetrad is of course 4:5:6:7 while minor is 10:12:15:17, Super is 14:18:21:27 and Sub is 6:7:9:11. Now while obviously these chords don't all exist in the same temperament universe, I consider them all to be consonant resolved sonorities. Some argue that 14:18:21:27 is not a consonant tetrad but it is as it's built from perfect fifths just like the other three. I consider it a main sonority despite it's biting brassy flavor which I love. <br /> <br /> It's not just that, using 14:18:21:27 is much more distinct from major chords than just the super triad 14:18:21. While 14:18:21 can sound like a major triad, 14:18:21:27 doesn't really sound much at all like a major seventh chord. Now, I'm not saying triads are bad, but they tend to be boring in the septimal world. If you're using 5-limit porcupine or what have you, then go for triads however, I have a different approach I find useful :) <br /> <br /> <!-- ws:start:WikiTextHeadingRule:2:<h1> --><h1 id="toc1"><a name="Superpyth"></a><!-- ws:end:WikiTextHeadingRule:2 -->Superpyth</h1> Ah Superpyth, that temperament which is sort-a like meantone, same structure but it's not the same at all. I personally think Superpyth demands an approach different than meantone, it tempers differently and sounds way too different. To be continued...<br /> <br /> <!-- ws:start:WikiTextHeadingRule:4:<h1> --><h1 id="toc2"><a name="Porcupine"></a><!-- ws:end:WikiTextHeadingRule:4 -->Porcupine</h1> Porcupine is such a freakin awesome temperament and MOS. I have heard of people harmonizing the 7-note MOS with major and minor triads and while this works, it's kind of boring when there are only four. I personally like using subsets 8:9:10:11:12 clusters but spread out so the ninth and 11th are an octave higher than the root and 3rd.</body></html>