dangerousideasinmusic.blogspot.com
Dangerous Ideas in Music: March 2010
http://dangerousideasinmusic.blogspot.com/2010_03_01_archive.html
Dangerous Ideas in Music. Just Intonation and Microtonality. Friday, 26 March 2010. I've designed a scale. It's like this:. 1/1 C Tonic 9/8 D Supertonic / Fifth Fifth 6/5 Eb Minor Third 5/4 E Major Third 4/3 F Fourth 54/40 = 27/20 F Super Minor Third 45/32 F# Super Major Third 3/2 G Fifth 24/15 G# Fourth Minor Third 20/12 = 10/6 A Fourth Major Third 27/16 A Super Fifth 7/4 Bb Septimal 16/9 Bb Subtonic 18/10 = 9/5 Bb Fifth Minor Third 15/8 B Fifth Major Third 2/1 C Octave. Some of these intervals appear t...
dangerousideasinmusic.blogspot.com
Dangerous Ideas in Music: April 2010
http://dangerousideasinmusic.blogspot.com/2010_04_01_archive.html
Dangerous Ideas in Music. Just Intonation and Microtonality. Sunday, 18 April 2010. Minor Seventh Equal Temperament. I'm particularly fascinated by the minor seventh at the minute. I came to a greater understanding of the thirds by creating scales propagated on those intervals, so perhaps I will get somewhere propagating a scale using the minor seventh? So let's define a scale by propagating the equally tempered minor seventh. What happens? That, at least, is interesting in itself. This I Did Not Do.
dangerousideasinmusic.blogspot.com
Dangerous Ideas in Music: Modulating Just Scale
http://dangerousideasinmusic.blogspot.com/2010/03/modulating-just-scale.html
Dangerous Ideas in Music. Just Intonation and Microtonality. Friday, 26 March 2010. I've designed a scale. It's like this:. 1/1 C Tonic 9/8 D Supertonic / Fifth Fifth 6/5 Eb Minor Third 5/4 E Major Third 4/3 F Fourth 54/40 = 27/20 F Super Minor Third 45/32 F# Super Major Third 3/2 G Fifth 24/15 G# Fourth Minor Third 20/12 = 10/6 A Fourth Major Third 27/16 A Super Fifth 7/4 Bb Septimal 16/9 Bb Subtonic 18/10 = 9/5 Bb Fifth Minor Third 15/8 B Fifth Major Third 2/1 C Octave. Some of these intervals appear t...
dangerousideasinmusic.blogspot.com
Dangerous Ideas in Music: Notes on a Modulating Just Scale
http://dangerousideasinmusic.blogspot.com/2010/04/notes-on-modulating-just-scale.html
Dangerous Ideas in Music. Just Intonation and Microtonality. Friday, 9 April 2010. Notes on a Modulating Just Scale. I have now had the chance to play a keyboard tuned to the scale I proposed here. Black Emperor would benefit from this adjustment. I think the powerful identity of 4/3 (it is after all the complement of a very low numbered partial) is such that one tends to hear 27/20 as an out of tune 4/3. This relative identity is an interesting concept that should be explored further. This I Did Not Do.
dangerousideasinmusic.blogspot.com
Dangerous Ideas in Music: Beautiful Numbers
http://dangerousideasinmusic.blogspot.com/2010/04/beautiful-numbers.html
Dangerous Ideas in Music. Just Intonation and Microtonality. Tuesday, 6 April 2010. So I've been converting a lot of values between cents and hertz, between musical tone and physical frequency. The way the numbers work out is absolutely beautiful. I've been working with 440Hz as my baseline because modern practice is to tune A=440Hz. It seems that this was a very sensible choice given the biases of modern music. I find the following pattern:. If we pick 330Hz for the tonic, we get:. This I Did Not Do.
dangerousideasinmusic.blogspot.com
Dangerous Ideas in Music: Intonation 8: What is Minor?
http://dangerousideasinmusic.blogspot.com/2010/03/intonation-8-what-is-minor.html
Dangerous Ideas in Music. Just Intonation and Microtonality. Tuesday, 23 March 2010. Intonation 8: What is Minor? I have argued at length that I think that the western use of a bastardised version of the aeolian mode as "minor" is the result of an authoritarian practice approaching the dorian by trial and error. Partch thinks that "minor" is relationships within utonality, by which he means the denominators of ratios. What does this mean? This can't just be nonsense, can it? Perhaps I have misunderstood&...
dangerousideasinmusic.blogspot.com
Dangerous Ideas in Music: Prime Factors
http://dangerousideasinmusic.blogspot.com/2013/07/prime-factors.html
Dangerous Ideas in Music. Just Intonation and Microtonality. Friday, 12 July 2013. I just found this post lurking unpublished. I like it so let's let it out into the world. I can't be the first person to have thought of this. This I Did Not Do. Subscribe to: Post Comments (Atom). This is the sister blog to Dangerous Ideas from the Wood.
dangerousideasinmusic.blogspot.com
Dangerous Ideas in Music: July 2013
http://dangerousideasinmusic.blogspot.com/2013_07_01_archive.html
Dangerous Ideas in Music. Just Intonation and Microtonality. Friday, 12 July 2013. I just found this post lurking unpublished. I like it so let's let it out into the world. I can't be the first person to have thought of this. This I Did Not Do. Links to this post. 2 Rudiments are artificial and don't apply to playing drumset as well as to playing in a marching band. The original list of Swiss rudiments was an essential piece of theory for marching bands sending messages to troops via their playing...
dangerousideasinmusic.blogspot.com
Dangerous Ideas in Music: Minor Seventh Equal Temperament
http://dangerousideasinmusic.blogspot.com/2010/04/minor-seventh-equal-tempermanent.html
Dangerous Ideas in Music. Just Intonation and Microtonality. Sunday, 18 April 2010. Minor Seventh Equal Temperament. I'm particularly fascinated by the minor seventh at the minute. I came to a greater understanding of the thirds by creating scales propagated on those intervals, so perhaps I will get somewhere propagating a scale using the minor seventh? So let's define a scale by propagating the equally tempered minor seventh. What happens? That, at least, is interesting in itself. This I Did Not Do.
dangerousideasinmusic.blogspot.com
Dangerous Ideas in Music: Intonation 7: Consonance and Dissonance
http://dangerousideasinmusic.blogspot.com/2010/03/intonation-7-consonance-and-dissonance.html
Dangerous Ideas in Music. Just Intonation and Microtonality. Tuesday, 23 March 2010. Intonation 7: Consonance and Dissonance. It's self evident that some combinations of notes sing pleasantly and other clash nastily. In between, there are endless shades of grey. At what point does consonance become dissonance? 2/1 (octave) - dissonance 2. 3/2 (fifth) - dissonance 6. 5/4 (just major third) - dissonance 20. 45/32 (a small just tritone) - dissonance 1440 (this is universally agreed to be dissonant). It make...
