Latest Videos - Overtone Music Network2014-11-21T02:18:29Zhttp://www.overtone.cc/video/video/rss?xn_auth=noGuimbarde et cosmicbow (JCP) ☼tag:www.overtone.cc,2014-11-19:884327:Video:1696192014-11-19T10:29:13.455ZChristopher Vila Monasteriohttp://www.overtone.cc/profile/ChristopherVilaMonasterio
<a href="http://www.overtone.cc/video/guimbarde-et-cosmicbow-jcp"><br />
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</a><br />Denis à la guimbarde, Nathalie au bâton de pluie, Christopher au cosmicbow, et Olivier (allias Joss Randall) à la caméra ! Et avec l'aimable et indéfectible ...
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</a><br />Denis à la guimbarde, Nathalie au bâton de pluie, Christopher au cosmicbow, et Olivier (allias Joss Randall) à la caméra ! Et avec l'aimable et indéfectible ... Pachelbel's Canon - Polyphonic Overtone Singingtag:www.overtone.cc,2014-11-18:884327:Video:1695302014-11-18T23:31:02.360ZWolfgang Saushttp://www.overtone.cc/profile/WolfgangSaus
<a href="http://www.overtone.cc/video/pachelbel-s-canon-polyphonic-overtone-singing"><br />
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</a> <br></br><a href="http://www.oberton.org/pachhelbel-kanon/">http://www.oberton.org/pachhelbel-kanon/</a><br></br>
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Wolfgang Saus sings two melodies at the same time: bass & soprano of Pachelbel's Canon simultaneously. It's a short demonstration of polyphonic overtone singing skills (sometimes referred to as throat singing) used in special new classical compositions.…
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</a><br /><a href="http://www.oberton.org/pachhelbel-kanon/">http://www.oberton.org/pachhelbel-kanon/</a><br />
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Wolfgang Saus sings two melodies at the same time: bass & soprano of Pachelbel's Canon simultaneously. It's a short demonstration of polyphonic overtone singing skills (sometimes referred to as throat singing) used in special new classical compositions.<br />
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The interesting thing about doing this with overtone singing is: the melody was always hidden in the overtones of the bass voice. Many ancient composers intuitively created "harmonic" melodies out of overtones of a basso continuo.<br />
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Painting: „Aachener Farbflügel-Altar” by Günther Beckers. The Syntonic Commatag:www.overtone.cc,2014-11-18:884327:Video:1696732014-11-18T11:27:29.340ZSkye Løfvanderhttp://www.overtone.cc/profile/SkyeLoefvander
<a href="http://www.overtone.cc/video/the-syntonic-comma-1"><br />
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</a> <br></br>Just Major Third: Ratio 5:4, 386.3 cents, 115.9 degrees<br></br>
Pythagorean major third: Ratio 81:64, 407.8 cents, 122.3 degrees<br></br>
12-TET Major third: Ratio cubic root of 2, 400 cents, 120 degrees<br></br>
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Apart from the octave the two strongest interval functions are the perfect fifth (and its inverse, the perfect fourth) and the major third. Mathematically, these are the reflections of…
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</a><br />Just Major Third: Ratio 5:4, 386.3 cents, 115.9 degrees<br />
Pythagorean major third: Ratio 81:64, 407.8 cents, 122.3 degrees<br />
12-TET Major third: Ratio cubic root of 2, 400 cents, 120 degrees<br />
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Apart from the octave the two strongest interval functions are the perfect fifth (and its inverse, the perfect fourth) and the major third. Mathematically, these are the reflections of the first three prime number in the harmonic series. That is why the so-called Just Intonation builds upon the octave, factor 2; the perfect fifth, factor 3 and the just major third, factor 5.<br />
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The inherent structure that gives rise to the 12 semitones, however, is the so-called Pythagorean Tuning, which is based upon factor 2, the octave and factor 3, the perfect fifth. 12 consecutive fifths approximately correspond to 7 consecutive octaves. However, there is a difference between the result of the generation of fifths and that of the octaves as<br />
(3/2) to the power of 12 = 129.746, while 2 to the power of 7 = 128th<br />
This difference is called the Pythagorean comma and has been described in this article: <a href="http://kortlink.dk/f38y">http://kortlink.dk/f38y</a><br />
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The two tonal systems – Just Intonation and Pythagorean Tuning – have been widely used until the Renaissance.<br />
The Just Major Third must be considered as the ear's reference for purity, since, as indicated it is found directly in the harmonic series as partial #5 (= 80/16).<br />
In Pythagorean Tuning the major third is generated by stacking four perfect fifth intervals:<br />
(3/2) x (3/2) x (3/2) x (3/2) = 81/16.<br />
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The ratio between the two versions of the major third is therefore 81:80=1.0125, so there is a discrepancy between the two tones at 1.25%, or 21.5 cents, as it is called in music theory terms. The 12-TET semitone is 100 cents, so the deviation is somewhere in between 1/4 and 1/5 semitone. It is about the same amount of impurity, we find in the Pythagorean Comma (23.46 cents).<br />
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In practical terms this means that the Pythagorean Tuning will be unsuitable for polyphonic music containing third intervals. This is the primary reason that the musicians of the Renaissance brought just tuning into play, but were faced with other problems as the Just Intonation system doesn't sound pure in keys of some distance from the chosen starting point.<br />
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These issues formed the basis of experiments with musical temperaments, which in particular flourished in large numbers in the Baroque period, and where we have ended up with total domination of equal temperament/ 12-TET (which was not developed in the Baroque period).<br />
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This development has many advantages, primarily the possibility to seamlessly modulate from one key to another, but it has not been a developement without costs. The thirds and sixths of modern keyboards are in the vicinity of 1/7 semitone off, almost as false as the Pythagorean Major Thirds, which were deemed useless by Renaissance musicians.<br />
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We have become accustomed to musical impurity or, in other words we have lost the sense of purity. The Pythagorean Commatag:www.overtone.cc,2014-11-18:884327:Video:1693402014-11-18T11:26:01.844ZSkye Løfvanderhttp://www.overtone.cc/profile/SkyeLoefvander
<a href="http://www.overtone.cc/video/the-pythagorean-comma-1"><br />
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</a> <br></br>"Rook di goo, rook di goo!<br></br>
There's blood in the shoe.<br></br>
The shoe is too tight,<br></br>
This bride is not right!"<br></br>
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from Cinderella, by Jakob and Wilhelm Grimm<br></br>
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Like the ugly sisters of Cinderella, through history musicians around the globe have been cutting the heels and toes of natural musical intervals to make them fit the glass (or gold) slipper – the…
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</a><br />"Rook di goo, rook di goo!<br />
There's blood in the shoe.<br />
The shoe is too tight,<br />
This bride is not right!"<br />
<br />
from Cinderella, by Jakob and Wilhelm Grimm<br />
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Like the ugly sisters of Cinderella, through history musicians around the globe have been cutting the heels and toes of natural musical intervals to make them fit the glass (or gold) slipper – the impossible notion of a perfect tonal system.<br />
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The Pythagorean Comma has its origin in the Pythagorean Tuning System, which is generated by 12 successive perfect fifth intervals (ratio 2:3). But the span of 12 perfect fifths exceeds the span of 7 octaves (each of a ratio 1:2) by a tiny interval, about 1/4 of a semitone – the Pythagorean Comma – leading to the necessity of tempered tuning systems.<br />
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As long as we stay in the world of drones and their harmonic overtones everything is relatively simple: From a mathematical perspective it is all a game of the first 20 integers or so and the proportions between them. But as soon as we also include melody and subsequently harmony, the whole picture becomes more complex, and we have to realize that the most fundamental functions from the harmonic series don't meet accurately.<br />
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The most fundamental structure in music is the division of the octave (ratio 1:2) in tonal intervals generated by the perfect fifth (ratio 2:3)..<br />
In the modern equal temperament (12-TET) all semitone steps are mathematically equal (arriving to the following frequency by multiplying by the twelfth root of 2) but in this arrangement the just intervals have been sacrificed – most notably the thirds and sixths, which at modern keyboard instruments are around 1/7 of a semitone off pitch.<br />
The reason for this is that the structure originally derives from the primary elements of the harmonic series, the octave, 1:2, and the perfect fifth, 2:3.<br />
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The span of 7 octaves – 2 to the power of 7 – is almost the same as the span of 12 perfect fifths – (3/2) to the power of 12 – but if you calculate the values you will come to 128 and 129.746 respectively.<br />
So something needs to give way when the 12 fifth-generated halftones are arranged within the frames of an octave in a tonal system.<br />
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In the video the tonal points have been arranged within a circular frame, which gives an immediate impression of the interval sizes. The 12TET tonal lines are partly hidden underneath the spiral structure. This is an equal division of the circle like the full hours of the clock, but please note, that the ear has other criteria of harmony. The tonal lines of The Pythagorean Tuning is on top of spiral.<br />
One winding, 360 degrees of the spiral equals one octave, ratio 1:2.<br />
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The equal tempered semitone equals 100 cent (30 degrees of a circle) and the octave is 1,200 cent (one turn of the circle, 360 degrees). The Pythagorean Comma equals 23.46 cents (7.04 degrees) and is the result of the accumulated inconsistency caused by the 1.96 cent (0.59 degrees) difference between a perfect fifth (701.96 cent, 210.59 degrees) and the fifth of 12TET (700 cent).<br />
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Please notice, that the purpose of the keyboard in the video is only to illustrate, as the spiral/circle representation of the octave is unknown to the majority. In reality, it is not – as it is now hopefully clear – impossible that the key of the seventh octave has the same frequency as the twelfth perfect fifth! Hringr - Notes and Numbers (Toner, tal og tid)tag:www.overtone.cc,2014-11-18:884327:Video:1694702014-11-18T11:24:36.608ZSkye Løfvanderhttp://www.overtone.cc/profile/SkyeLoefvander
<a href="http://www.overtone.cc/video/hringr-notes-and-numbers-toner-tal-og-tid"><br />
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</a> <br></br>English/ dansk<br></br>
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The fundamental note A2, 110 Hz, and the first 16 partials of its harmonic series (110 Hz-220 Hz-330 Hz-...-1.760 Hz) accompagnied by visualizations of the corresponding integers according to their factorization:<br></br>
1, 2, 3, 2x2, 5, 2x3, 7, 2x2x2, 3x3, 2x2x3, 13, 2x7, 3x5, 2x2x2x2<br></br>
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It is crucial to be able to distinguish between…
<a href="http://www.overtone.cc/video/hringr-notes-and-numbers-toner-tal-og-tid"><br />
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</a><br />English/ dansk<br />
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The fundamental note A2, 110 Hz, and the first 16 partials of its harmonic series (110 Hz-220 Hz-330 Hz-...-1.760 Hz) accompagnied by visualizations of the corresponding integers according to their factorization:<br />
1, 2, 3, 2x2, 5, 2x3, 7, 2x2x2, 3x3, 2x2x3, 13, 2x7, 3x5, 2x2x2x2<br />
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It is crucial to be able to distinguish between the expression of a numerical value and a number system and to have a feel of the essence of number, as they come to expression through the overtone series.<br />
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The symbols here are not meant as a practical substitute for numbers, but as an example of a visualization which is more into line with their 'inner nature' than a number system. They should not be confused with Cymatics.<br />
The core of the understanding of numbers is their factorization. Prime numbers are 'atoms', while composite numbers are 'molecules'.<br />
A master key to use numbers in accordance with their essence more than as 'price labels' emptied of meaning is to understand how the integers express themselves in the harmonic series, where<br />
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1-2-4-8-16-... is the fundamental and its octaves<br />
3-6-12-... is the perfect fifth and its octaves<br />
5-10-... is the just major third and its octaves<br />
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<a href="http://www.musicpatterns.dk">www.musicpatterns.dk</a><br />
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DANSK:<br />
Tonen 110 Hz (A), dens overtonerække nr. 1-16 og visualiseringer af tallene, som de fremstår i kraft af deres primtalsanalyse:<br />
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1, 2, 3, 2x2, 5, 2x3, 7, 2x2x2, 3x3, 2x2x3, 13, 2x7, 3x5<br />
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Det er vigtigt at kunne skelne mellem udtryk for talværdi, talsystem og at have sans for tallenes væsen, som de bl.a. kommer til udtryk gennem overtonerækken.<br />
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Symbolerne her er ikke tænkt som en praktisk erstatning for tal, men som et eksempel på en fremstilling, som mere retter sig efter deres natur end et talsystem. De skal ikke forveksles med kymatik.<br />
Kernen i forståelsen af tal er deres opløsning i primfaktorer. Primtal er 'atomer', mens sammensatte tal er 'molekyler'. En hovednøgle til at bruge dem som andet end meningstømte værdimålere er at forstå, hvordan heltallene udtrykker sig i overtonerækken, hvor<br />
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1-2-4-8-16-... er primærtone og oktaver heraf<br />
3-6-12-... er ren kvint og oktaver heraf<br />
5-10-... er stor terts og oktaver heraf<br />
...<br />
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<a href="http://www.musikkensm">www.musikkensm</a>ønster.dk