Verse:Hmøøh/Txapoalli: Difference between revisions
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Uses 7-tone neutral third scale subsets of 27edo: 6L 1s or 3L 4s | Uses 7-tone neutral third scale subsets of 27edo: 6L 1s or 3L 4s | ||
< | <poem> | ||
early naquians could have started out with JI | early naquians could have started out with JI | ||
the difference between naquian music and etalocian music would be that the former cared more about "expressiveness" (kind of like the romantics) than harmony (making their approach to tuning more 'fluid') | the difference between naquian music and etalocian music would be that the former cared more about "expressiveness" (kind of like the romantics) than harmony (making their approach to tuning more 'fluid') | ||
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2) in pedagogic methods so students can get a rough idea as to where the intervals lie | 2) in pedagogic methods so students can get a rough idea as to where the intervals lie | ||
(for students of voice and flexible pitch instruments) | (for students of voice and flexible pitch instruments) | ||
Thă'oad could give the name '["Naquian tuning"]' to tetracot temperament 😀 | |||
or '["Naquian temperament"]' (a misnomer on many levels!) | or '["Naquian temperament"]' (a misnomer on many levels!) | ||
in fact a 7 step octave would make it possible for a notation a lot like our staff notation to be adopted in the naquosphere! (leaving etalocians with something symbolic like daseian?) | in fact a 7 step octave would make it possible for a notation a lot like our staff notation to be adopted in the naquosphere! (leaving etalocians with something symbolic like daseian?) | ||
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sounds like C Db Ed Fd(trilled with G) G->F#->G kind of | sounds like C Db Ed Fd(trilled with G) G->F#->G kind of | ||
often played as 1/1 21/20 5/4 9/7 3/2->10/7->3/2 on the sewvore | often played as 1/1 21/20 5/4 9/7 3/2->10/7->3/2 on the sewvore | ||
</poem> | |||
===Sjowaazhosphere=== | ===Sjowaazhosphere=== | ||