|
 |
the 8-tone quatro-modes concept
Description
The 8-Tone Quarto-Modes Concept is a special study into the diminished and its application for mainstream jazz players, advanced improvisators, and notational composers. Ten years in development, and written by an internationally acclaimed musician for musicians already familiar with standard scaletone harmony, it is a new paradigm for further possibilities in jazz and improvisational music.
jazz, music theory, improvised music.
8-Tone Quarto-Modes Concept by G. F. Mlely, new music theory for
jazz improvisator.
jazz, music theory, improvised music.
8-Tone Quarto-Modes Concept by G. F. Mlely, new music theory for
jazz improvisator.
Category
Keywords
Date
Apr 30, 2005
Contact name
Email
Link ID
8123
Write a Review
Add to My Favorite
Refer it to Friend
Report Broken Link
Other links at Theory, Tuning...
A Digital Audio Primer:
Many people don’t care about the technology behind their stereo system. As long as it sounds good and they can press a button and listen to music, everything is fine. However, when you start working with audio on computers and the Internet, it’s important to understand a few key principles to achieve good results.
Sound reaches our ears as waves of rapidly varying air pressure caused by a vibrating object, such as a guitar string. As the string moves in one direction, it pushes on nearby air molecules, causing them to move closer together. This creates a small region of high pressure on one side of the string and low pressure on the opposite side. As the string moves in the opposite direction, the areas of high and low pressure reverse ...
The intensity of sound is called the sound pressure level (SPL) and is measured in decibels (dB SPL). Decibels are a logarithmic scale that represents how much a sound level or audio signal varies from another signal, or reference level. You might refer to a sound as being 10dB louder than another sound or 3dB softer. A 3dB change is about the minimum change in sound level that most of us can perceive. A 10dB change sounds about twice as loud.
Decibels are always relative. To use decibels to represent a specific quantity, you need to know the reference, or 0 dB level. In the case of sound intensity, 0 dB SPL represents the threshold of hearing of a young undamaged ear (a pressure of about 3 billionths of a pound per square inch). In this case, all sound pressure levels are positive numbers that show how much louder a sound is than the threshold of hearing ...
Many people don’t care about the technology behind their stereo system. As long as it sounds good and they can press a button and listen to music, everything is fine. However, when you start working with audio on computers and the Internet, it’s important to understand a few key principles to achieve good results.
Sound reaches our ears as waves of rapidly varying air pressure caused by a vibrating object, such as a guitar string. As the string moves in one direction, it pushes on nearby air molecules, causing them to move closer together. This creates a small region of high pressure on one side of the string and low pressure on the opposite side. As the string moves in the opposite direction, the areas of high and low pressure reverse ...
The intensity of sound is called the sound pressure level (SPL) and is measured in decibels (dB SPL). Decibels are a logarithmic scale that represents how much a sound level or audio signal varies from another signal, or reference level. You might refer to a sound as being 10dB louder than another sound or 3dB softer. A 3dB change is about the minimum change in sound level that most of us can perceive. A 10dB change sounds about twice as loud.
Decibels are always relative. To use decibels to represent a specific quantity, you need to know the reference, or 0 dB level. In the case of sound intensity, 0 dB SPL represents the threshold of hearing of a young undamaged ear (a pressure of about 3 billionths of a pound per square inch). In this case, all sound pressure levels are positive numbers that show how much louder a sound is than the threshold of hearing ...
Category:
It is often said that the most important aspects of musical performance are the "three ts": tuning, timing and tone. A well-played piece of music needs to be in tune, in time and have an appropriate tonal quality. In this section of my site I will be focusing on the first t - tuning....
intonation and the diminished tuning, Audio Examples of Just Intonation and Equal Temperament Applied to the Harmonica
Why does Just Intonation sound so good?
Ramblings on the general topic of Just Intonation, ratios and prime limits
Tuning Schemes for the Standard Major Diatonic Harmonica
Tempered diatonic harmonicas, Picardy Thirds, Diminished Tunings and more ratios and limits
Intonational considerations for the Solo Tuned, Harmonic Minor, Natural Minor and Melody MakerTM harps
Harmonica tuning relative to accompanying instruments
Temperaments of various
out-of-the-box
diatonic harmonicas
intonation and the diminished tuning, Audio Examples of Just Intonation and Equal Temperament Applied to the Harmonica
Why does Just Intonation sound so good?
Ramblings on the general topic of Just Intonation, ratios and prime limits
Tuning Schemes for the Standard Major Diatonic Harmonica
Tempered diatonic harmonicas, Picardy Thirds, Diminished Tunings and more ratios and limits
Intonational considerations for the Solo Tuned, Harmonic Minor, Natural Minor and Melody MakerTM harps
Harmonica tuning relative to accompanying instruments
Temperaments of various
out-of-the-box
diatonic harmonicas
Category:
Hmt - Hermode tuning; program controlled tuning.
This article is an introduction to the topic of tuning. It's
intended for all musicians and music lovers who have a
keen sense of hearing and who can truly appreciate an
improved world of sound.
Note:
You can also listen to all of the sound examples used here.
In order to do this, you'll need to install a sound card and
to turn on your loudspeakers.
Hermode Tuning controls the tuning of electronic keyboard
instruments automatically during a musical performance.
A novice might be surprised about this and ask himself just
why this effort is necessary. After all, a "well-tempered
keyboard instrument" (Whatever that might actually mean) is
generally assumed to be optimally tuned. However this isn't
the case: any kind of fixed tuning is a rather poor compromise,
and even Hermode Tuning can't alleviate all kinds of tuning
problems. However, it can minimize them. Good wind or string players and singers have always been able to
produce variable intonation. But keyboard instruments - at least
up to the present - have always had a rigidly preset tuning
determined either by a piano tuner or, in the case of electronic
instruments, by a programmed table. In order to create clear
frequencies for all conceivable fifth and third intervals in all possible
chord and interval progressions, a keyboard instrument would
have to have a significantly higher number of keys per octave instead
of only the usual 12. But who could play such and instrument?
And who would want to?
Hermode Tuning can help with this problem: it retains the usual
correspondence between keys and notes while using a controlled
program to correct the individual notes of electronic instruments
so that they reach a high degree of purity. In this process, up to
50 finely graded frequencies per note are available, although the
tuning process is still compatible with fixed tuning ...
This article is an introduction to the topic of tuning. It's
intended for all musicians and music lovers who have a
keen sense of hearing and who can truly appreciate an
improved world of sound.
Note:
You can also listen to all of the sound examples used here.
In order to do this, you'll need to install a sound card and
to turn on your loudspeakers.
Hermode Tuning controls the tuning of electronic keyboard
instruments automatically during a musical performance.
A novice might be surprised about this and ask himself just
why this effort is necessary. After all, a "well-tempered
keyboard instrument" (Whatever that might actually mean) is
generally assumed to be optimally tuned. However this isn't
the case: any kind of fixed tuning is a rather poor compromise,
and even Hermode Tuning can't alleviate all kinds of tuning
problems. However, it can minimize them. Good wind or string players and singers have always been able to
produce variable intonation. But keyboard instruments - at least
up to the present - have always had a rigidly preset tuning
determined either by a piano tuner or, in the case of electronic
instruments, by a programmed table. In order to create clear
frequencies for all conceivable fifth and third intervals in all possible
chord and interval progressions, a keyboard instrument would
have to have a significantly higher number of keys per octave instead
of only the usual 12. But who could play such and instrument?
And who would want to?
Hermode Tuning can help with this problem: it retains the usual
correspondence between keys and notes while using a controlled
program to correct the individual notes of electronic instruments
so that they reach a high degree of purity. In this process, up to
50 finely graded frequencies per note are available, although the
tuning process is still compatible with fixed tuning ...
Category:
Aims to explain both the practical basics and the rationale behind Schenkerian analysis and Schenker's influential and controversial theory of tonal music.
schenkerian,
analysis,
music,
heinrich,
schenker,
shenker,
tonality,
theory,
reductive,
tonal,
pankhurst,
tom,
ursatz,
heinrich,
shenkerian,
hierarchical,
urlinie,
bassbrechung,
fundamental structure,
descent,
arpeggiation,
descent,
scale-step,
structural,
formalist
schenkerian,
analysis,
music,
heinrich,
schenker,
shenker,
tonality,
theory,
reductive,
tonal,
pankhurst,
tom,
ursatz,
heinrich,
shenkerian,
hierarchical,
urlinie,
bassbrechung,
fundamental structure,
descent,
arpeggiation,
descent,
scale-step,
structural,
formalist
Category:
Intonation Study:
Experiments in interval perception often reveal an astonishingly wide range of acceptability as far as mistuning is concerned. Mistunings of 20–40 cents seem to be acceptable in adjustment or evaluation tasks, yet this wide range of tolerance towards intonation deviation contrasts with the demands made on the intonation skills of expert musicians. Within the framework of a top-down approach, it is hypothesized that expert musicians use all acoustical cues available, such as timbre or musical context, in order to achieve optimal task adaptation and therefore are able to adapt to different tuning systems to a significant degree. On this hypothesis, it was decided to carry out an experiment which includes a "realistic" musical setting. The experimental conditions of this study used the paradigm of controlled varied condition with a 2 (tuning systems) * 2 (players) * 5 (renditions) * 5 (interval categories) design. Two professional musicians (trumpet players) were chosen as subjects to play the missing upper voice of a 4-part sound-example whilst listening via headphones to the remaining 3 parts in adaptive just intonation (JI) and equal temperament (ET). An analysis of variance showed a non-significant difference between the mean deviation of intonation in the two systems used. The results revealed a mean deviation of 4.9 cents in the ET condition (sd = 6.5) and 6.7 cents in the JI condition (sd = 8.1) and no significant differences were found between players. Results are based on the assumption of an unconscious "always the same" strategy, which means that the same intonation is employed for ET and JI versions. This overall tendency is interpreted as a "burn in"-effect and is the consequence of long term intonation practice in ET. Additionally, a factor analysis revealed four components which determine intonation patterns: these are the "major third factor", the "minor third and partials factor", the "instrumental tuning factor" and the "octave-minor seventh factor". To summarize, even in expert musicians, intonation is not determined by abstract tuning systems but is the result of an interaction among compositional features, the acoustic of the particular musical instrument and deviation patterns in specific intervals ...
Experiments in interval perception often reveal an astonishingly wide range of acceptability as far as mistuning is concerned. Mistunings of 20–40 cents seem to be acceptable in adjustment or evaluation tasks, yet this wide range of tolerance towards intonation deviation contrasts with the demands made on the intonation skills of expert musicians. Within the framework of a top-down approach, it is hypothesized that expert musicians use all acoustical cues available, such as timbre or musical context, in order to achieve optimal task adaptation and therefore are able to adapt to different tuning systems to a significant degree. On this hypothesis, it was decided to carry out an experiment which includes a "realistic" musical setting. The experimental conditions of this study used the paradigm of controlled varied condition with a 2 (tuning systems) * 2 (players) * 5 (renditions) * 5 (interval categories) design. Two professional musicians (trumpet players) were chosen as subjects to play the missing upper voice of a 4-part sound-example whilst listening via headphones to the remaining 3 parts in adaptive just intonation (JI) and equal temperament (ET). An analysis of variance showed a non-significant difference between the mean deviation of intonation in the two systems used. The results revealed a mean deviation of 4.9 cents in the ET condition (sd = 6.5) and 6.7 cents in the JI condition (sd = 8.1) and no significant differences were found between players. Results are based on the assumption of an unconscious "always the same" strategy, which means that the same intonation is employed for ET and JI versions. This overall tendency is interpreted as a "burn in"-effect and is the consequence of long term intonation practice in ET. Additionally, a factor analysis revealed four components which determine intonation patterns: these are the "major third factor", the "minor third and partials factor", the "instrumental tuning factor" and the "octave-minor seventh factor". To summarize, even in expert musicians, intonation is not determined by abstract tuning systems but is the result of an interaction among compositional features, the acoustic of the particular musical instrument and deviation patterns in specific intervals ...
Category:
Main Category
11
2005
555
335
215
6
791
59
2257
363
411
190
140
211
22
2321
74
120
3
178
36
145
105
36
14
26
1038
159
234
98
273
9
1068
151
245
144
312
255
348
15
78
214
128
70
414
536
2604
91
Top 10
Statistics
Links: 17467
Categories: 1112
Unique Outgoing Hits: 4636241
Pagerank Statistics
