Ground's composition theory: Difference between revisions
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My music has had a distinctively shifting key center since about 2018. Even in 12edo, my simultaneous regard and disregard for tonality may be confusing. This article is an attempt to explain how it works, with an emphasis on my other theories, [[Aberrisma|aberrismic]] and [[Straddle_primes|straddle-prime]]. I'm introducing a placeholder term for it, interval logic deviation theory (ILD), which can be replaced if this turns out to be something already described. | My music has had a distinctively shifting key center since about 2018. Even in 12edo, my simultaneous regard and disregard for tonality may be confusing. This article is an attempt to explain how it works, with an emphasis on my other theories, [[Aberrisma|aberrismic]] and [[Straddle_primes|straddle-prime]]. I'm introducing a placeholder term for it, interval logic deviation theory (ILD), which can be replaced if this turns out to be something already described. | ||
In ILD, scales aren't a fixed set of notes, but a template for interval logic. As such, their main features are probabilities in an interval sequence and bubble deviations from that interval sequence. ILD is best for music with a strong melodic focus, such as mine, where the melody informs the harmony instead of the reverse. | In ILD, scales aren't a fixed set of notes, but a template for interval logic that can be deviated from. As such, their main features are probabilities in an interval sequence and bubble deviations from that interval sequence. ILD is best for music with a strong melodic focus, such as mine, where the melody informs the harmony instead of the reverse. | ||
{| class="wikitable" | {| class="wikitable" | ||
|+Diatonic example of probabilities (up to word length 3) | |+Diatonic example of probabilities (up to word length 3) | ||
Revision as of 02:49, 4 July 2026
I'm User:Ground. This document is going to be very long. Obviously it isn't done. I have more content to add and a need to revise the existing content. Don't expect it to make the most sense yet.
My music has had a distinctively shifting key center since about 2018. Even in 12edo, my simultaneous regard and disregard for tonality may be confusing. This article is an attempt to explain how it works, with an emphasis on my other theories, aberrismic and straddle-prime. I'm introducing a placeholder term for it, interval logic deviation theory (ILD), which can be replaced if this turns out to be something already described.
In ILD, scales aren't a fixed set of notes, but a template for interval logic that can be deviated from. As such, their main features are probabilities in an interval sequence and bubble deviations from that interval sequence. ILD is best for music with a strong melodic focus, such as mine, where the melody informs the harmony instead of the reverse.
| Sequence | Next step probability |
|---|---|
| s | L 1/1 |
| L | L 5/7, s 2/7 |
| sL | L 1/1 |
| Ls | L 1/1 |
| sLL | s 1/2, L 1/2 |
| LsL | L 1/1 |
| LLs | L 1/1 |
| LLL | s 2/3, L 1/3 |
Bubble deviations are named after the bubble sort algorithm, which repeatedly swaps adjacent items in an array. Steps in a base scale can be swapped in the same way to modify the scale with no requirement for a clear structure like a generator chain or lattice splotch, which is my term for a collection of generator chains in aberrismic theory. Suppose you want the scale word sLs in diatonic. This would require only one bubble deviation from the expected step order, turning sLLs to sLsL. While the probability of encountering it in the base diatonic scale is zero, it sounds more "probable" (less unexpected) than something like ssL.
This explains why I used Dimininished[8] in 12edo more often than Augmented[6], because its stepwise interval logic has less deviation from diatonic. Diminished[8] is made of a repeating sequence of 1\12 and 2\12, common in diatonic, whereas Augmented[6]'s steps of 1\12 and 3\12 do not occur in diatonic at all. As a result, melodies in Diminished sound less exotic.
Bubble deviations are only one axis of deviation. There is another axis which I've found to be exclusively useful in tuning systems with aberrismic-sized steps or smaller, the axis of microtonal deviation from expected intervals. This involves changing the pitch of an expected interval only slightly, so it is heard as a variation of the expected interval rather than a different interval entirely. This axis interacts with the base scale by introducing or modifying an aberrismic offset, for example diatonic being diasem or blackdye with the offset removed, 2.3.7 diasem having a larger offset than 2.3.23, or 2.3.5 blackdye having a smaller offset than 2.3.17/7. The intervals affected by the offset, usually thirds and sixths, differ microtonally when the offset is changed.
Straddling intervals that are stacked the most (usually 3/2) introduce a third axis that can be simplified into a combination of the other two. It's possible to have bubble deviation from a scale that isn't even in the tuning system being used, like how alternating <<3 and >3 in 37edo straddles 74edo meantone and results in trackdye.
