User talk:Godtone

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)

Hello Godtone. If there is anything you need, please ask. --Xenwolf (talk) 08:08, 18 December 2020 (UTC)

Hi uhm, how do I reply "properly" (if there is a way to reply "properly") so that it shows up like a comment on the talk page? As of now I'm just trying to replicate the plaintext markdown. Another thing is where do I read on conventions/etc. on editing pages for commas/intervals and EDOs? --Godtone (talk) 10:12, 18 December 2020 (UTC)

Yes, replying is by indenting by one (via colons at line start). This convention is restricted to talk (or diskussion) pages. Written conventions are a work in progress. Currently the "rules" for these three sorts of pages are a bit under construction. The pages Xenharmonic Wiki:Conventions and Xenharmonic Wiki:Things to do (including discussions), and maybe also Template talk:Infobox ET may give you an idea... --Xenwolf (talk) 14:34, 18 December 2020 (UTC)

Hi Aura, I've considered the issues you raised with my stopping points before for the most part. The reason I disinclude 14/13 is, while it is noticeable when played side-by-side with 13/12, I think this is an idealised situation for judgement because in a lot of music in practice, the notes won't be as clear, won't be played as long, will be played with other notes/sounds that serve to obfuscate their precise judgement and will be played with not-too-precise - or worse inharmonic - timbres, plus it should also be considered that a lot of the range of human pitch hearing is of significantly lower precision than in its optimal range of frequencies. The final reason for disincluding 14/13 is basically what I said in my explanation: I find the difference between 13/12 and 14/13 to be uncomfortably small, and so wouldn't want to have to differentiate them, meanwhile 13/12 is pretty distinct from 12/11 or 15/14. As for powers of 2 in the numerator, I find that this generalises to a 2^n in a chord usually helping with orientation significantly, however, I don't find that the presence of factors of 2 in a numerator necessarily help with orientation if there are other factors there, plus if we allow that sort of thinking, shouldn't 9/7 be considered to be fairly "connected" just because it can be written as 18/14 or 36/28? I do think there is a little validity to this reasoning, but overall I think powers of 2 are more pleasing and orienting when in the denominator, although I admit 2^n in the numerator is a special case. Having said that, I personally dislike 16/15 as it sounds too complex to me and it doesn't sound very "connected" to me while 8/7 sounds somewhat connected. I'm also keeping the superparticulars in consideration slightly on the minimal side because of later thoughts of mine introducing more complexity (as there is plenty of ratios that can be built from these superparticulars alone for example). My last point is that maybe you misunderstood my intent for this limit as a melodic one rather than a harmonic one. A 10c difference is far from nothing harmonically, but melodically it is very little. I focus on the melodic rather than the harmonic as the harmonic can be very precise with very precise and harmonic timbres, and approximating pure JI with rank one temperaments eventually seems slightly futile (at that point, why not just JI?), hence me drawing the line where I have. Sorry for the verbose response; hope this gives some insight. (Further insights will hopefully come when I add more to my user page later.) Godtone (talk) 13:15, 18 December 2020 (UTC)