|MusicNovatory/Introduction/Reference/Comments and Questions/Harmony/Preface/Chrominicism|
The section on chrominicism really blew my mind! Imagine the natural notes not being equally natural but gradually sharpening or flattening depending on the direction in the series of fifths. If chords (and harmony) are built in the series of fifths would it not be preferable to call a "descending" progression a flattening progression (since it goes to a flatter chord) and to call an "ascending" progression a sharpening progression (since it goes to a sharper chord)?
Perfectly right! We stand corrected. Changes will follow. Thanks.
Can someone please explain how chrominicism works with equal tempered tuning? for example, doesn't B# have the same chrominic position as C? Thank you.
Chrominicism exists in equi-tempered tuning, pythagorean tuning, "functional tuning," and any of the forms of just intonation, although the calculations vary minutely from one to the other. Chrominicism should not be confused with proximity in absolute
pitch. Chrominicism is a relative indication of where a note is found within the fundamental generative structure of the
series of perfect fifths. For instance, B is five "notches" sharper than C, because it is located five perfect fifths away
in the series. B# is seven notches sharper than B, and twelve notches sharper than C. Since a note (for example C) and its
chromatic version (for example C#) differ by a semi-tone, and because they are seven notches apart in the series, we can say
that the size of each "notch" is one-seventh of a semi-tone. Now, this semi-tone, and therefore the notch, will be micro-tonally
different depending on which tuning is used.
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