Title | : | Theory of Primodality |

Duration | : | 03:22:55 |

Viewed | : | 7,016 |

Published | : | 11-08-2021 |

Source | : | Youtube |

Discussing the nature of Primodality and my just intonation theories. Just intonation offers a vast and infinitely deep ocean of sonic possibility yet the harvest of tradition has reaped only a limited shred of possibility from this infinite harmonic landscape. It is my hope that with this approach, deeper parts of the harmonic series will be illuminated, thereby, granting increased freedom and sensation to the composer, listener, and theorist. This approach advances a philosophy of just intonation which organizes the harmonic series into several discrete, octave complete harmonic scale families. These harmonic modes may then be sorted by primacy to generate palettes. By taking a prime harmonic and treating it as the numerary nexus in which all numbers above it are drawn in ratio against till completing the octave we generate a pool of unique intervals which function together as a natural gestalt unit: the Primodality. Key Differences Between Traditional JI Approaches and Primodality: 1) Invertible equivalence is commonly assumed. Traditionally 19/16 and 32/19 are seen as similar in origin where in Primodality they are not. Each structure is respected as it's own distinct vertical identity where as distinct vertical identity is not strictly respected in traditional approaches. 2) Less preference towards scales with high regularity. While CS forms allow us to get regularity in harmonic series via nejis and stuff, Primodality to me is most pure when the entire harmonic segment is used as a musical scale like in the work Pandelia. This means understanding and respecting how to navigate a scale in which as you approach the octave, the steps becoming increasingly smaller. Basically the pure primodal scale form is actually a harmonic curve shape and conceptualizing space inside the scale must consider this. Nejis simplify this of course. 3) Commas are widely avoided in traditional JI. In Primodality a comma is just a natural scale step. They are free to be embraced and considered as the natural consequence of moving through the harmonic scale. Therefore "comma" doesn't really exist Primodality outside of namesake. The comma --- adjacent scale steps -- is then free. 4) Traditional JI due to it's emphasis on lattice places somewhat of a "superstitious" perspective on high primes as each successive prime multiples the complexity of the pitch space. In Primodality, each successive prime... just naturally shows up in the scale and requires no significant increase in dimensionality to be sounded. 4.5) Prime limit is meaningless when the lattice is surrendered. 5) The sound of the prime is not the prime relative to everything else but instead everything else relative to the prime. As mentioned in point #1, invertible equivalence being assumed true means that x/p and p/x are considered to be equally reflective of p's sound. In Primodality, this is not the case. 6) Consideration of VF as not a phenomenon in which all things reduce to a singular VF but instead a gradient in which proximity towards a meta-VF and true VF can be shifted across for timbral and harmonic exploration. 7) JND becomes increasingly meaningless because subtle differences that may exist below the accepted JND add up across the gestalt whole of the family. I.e. a single dyad on it's own may be meaningless and not convey the sound of it's prime mode but when joined in chorus by other members from it's family, a distinct picture of modal identity emerges. 8) Application of modal logic but in a large scale through the harmonic series. I.e., if thinking of a CS-12, /43 is the IV of /32. /17 is the bII of /32. /19 is the bIII of /32. /57 is the b7 of /32. /51 is the bVI of /32 and thus the V of /17. While this example is purely thinking in a CS-12 kind of diatonic map, the same modal and formal logic can be applied to any cs structure. I.e. /31 is the tetracot 2 of /7 or /15 as /60 is the bVII of /17. The goal of all this is to eventually understand enough connections to where the first 128 or 256 harmonics can be conceived of in totality and musically useful movements between and connections of reveal themselves. A limit focused approach or lattice focused approach will fundamentally never reveal these connections — and thus — never fully free the harmonic series. These fundamentals, adoption of them, or movement toward them could be described as primodalism. This perspective is extremely obvious if you operate outside the traditions of JI treatment but its kind of impossible to see if operating within those traditions simply because the fundamentals the traditional approach operates on precludes interaction with many of the key pieces that need to be in place to view the harmonic series this way instead. Xenwiki entry not written by me: en.xen.wiki/w/Primodality 0:00 Theory of Primodality 00:40:00 Impressions of Primes 01:20:00 Witchcraft 01:55:00 Social Media Talk 02:15:00 Music 02:45:00 Piano Time 03:09:20 Lumatone

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