Other Creativity

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sangi39
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Re: Other Creativity

Post by sangi39 » 30 Jul 2019 23:59

This took much longer than expected:

Image



Image



Image



Image



Image



And that's just one section of the interior walkway.

I've had a slight redesign of the layout of the settlement, and effectively taken out everything that just seemed like a cobbled together mess.

The walls are now of uniform height, such that the bailey walls (and exterior wall), and the walkway walls are now all 12 blocks high. I found that while a 5 block tall walkway wall was reasonably tall, it didn't really seem as imposing as I was hoping, so I raised them up. The added side-effect being that building within the baileys can now be taller without peaking above the walls, which was a problem when designing the noble residences.

The walkway is now lined with a sort of internal "moat", and I've stripped away the military lodgings that were dotted around the place. The intent being that they'll be backed up against the walls or around the towers/guardhouses that are dotted along the walls (the ones along the walkway also serve as entrances to the baileys, meaning that to get from one area to the next you have to go through at least one gatehouse, and to get to the main castle you need to, at the moment, go through thirteen, although that might go up to fifteen by the end of the week).

I'm annoyingly tempted to rip out the noble residences as well and start them again [:P] I like the layout, but the... palette doesn't fit, and now that I can add a few more blocks to the height, I sort of want to add an extra floor to them.

Image
You can tell the same lie a thousand times,
But it never gets any more true,
So close your eyes once more and once more believe
That they all still believe in you.
Just one time.

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Re: Other Creativity

Post by sangi39 » 01 Aug 2019 00:23

I cheated and shoved the beds for the guards inside the interior bailey walls [:P]

Image

This still means these particular walls are still 5 blocks thick on each side (rather than a solid mass 21 blocks wide), gives me more room to work with inside the baileys themselves, and means that to access the various gatehouses and their towers you have to actually have to make it inside a bailey.

I don't really want to do this with the exterior walls if I can get away with it. I need to figure out the exact number of soldiers I'd reasonably need to fully man the walls, but so far I think the walls in total have a combined length of around 20,000 blocks... I may give this some more thought.
You can tell the same lie a thousand times,
But it never gets any more true,
So close your eyes once more and once more believe
That they all still believe in you.
Just one time.

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Re: Other Creativity

Post by Khemehekis » 23 Aug 2019 04:48

Today, I drew an Evangelisti Chart.

Image
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Squirrels chase koi . . . chase squirrels

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31,416: The number of the conlanging beast!

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Re: Other Creativity

Post by Khemehekis » 01 Sep 2019 08:05

Today I launched my new Tumblr youth rights blog, Aaliyah Would Be Proud.

https://savegraduation.tumblr.com
♂♥♂♀

Squirrels chase koi . . . chase squirrels

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31,416: The number of the conlanging beast!

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Re: Other Creativity

Post by Khemehekis » 07 Sep 2019 05:17

"Risperidone"
by James Landau (C) 2019

You've had a long hike
Your interest spiked
You chew a cactus like jam
Your mind starts to coast
An overdose
Like taking twenty milligrams
Of risperidone
When you're all alone
In the heat zone
All sand and stone
With your mind blown
And your brain grown
You look over the horizon
And feast your eyes on one cougar
Oh, I hear you
I hear you

ADDITIONAL VERSES
Spoiler:
You've had a long hike
Your interest spiked
You chew a cactus like jam
Your mind starts to coast
An overdose
Like taking twenty milligrams
Of risperidone
When you're all alone
In the heat zone
All sand and stone
With your mind blown
And your brain grown
You look over the horizon
And feast your eyes on four coyotes
Oh, I hear you
I hear you

You've had a long hike
Your interest spiked
You chew a cactus like jam
Your mind starts to coast
An overdose
Like taking twenty milligrams
Of risperidone
When you're all alone
In the heat zone
All sand and stone
With your mind blown
And your brain grown
You look over the horizon
And feast your eyes on nine jaguars
Oh, I hear you
I hear you

You've had a long hike
Your interest spiked
You chew a cactus like jam
Your mind starts to coast
An overdose
Like taking twenty milligrams
Of risperidone
When you're all alone
In the heat zone
All sand and stone
With your mind blown
And your brain grown
You look over the horizon
And feast your eyes on sixteen cattle
Oh, I hear you
I hear you

You've had a long hike
Your interest spiked
You chew a cactus like jam
Your mind starts to coast
An overdose
Like taking twenty milligrams
Of risperidone
When you're all alone
In the heat zone
All sand and stone
With your mind blown
And your brain grown
You look over the horizon
And feast your eyes on twenty-five iguanas
Oh, I hear you
I hear you

You've had a long hike
Your interest spiked
You chew a cactus like jam
Your mind starts to coast
An overdose
Like taking twenty milligrams
Of risperidone
When you're all alone
In the heat zone
All sand and stone
With your mind blown
And your brain grown
You look over the horizon
And feast your eyes on thirty-six Gila monsters
Oh, I hear you
I hear you

You've had a long hike
Your interest spiked
You chew a cactus like jam
Your mind starts to coast
An overdose
Like taking twenty milligrams
Of risperidone
When you're all alone
In the heat zone
All sand and stone
With your mind blown
And your brain grown
You look over the horizon
And feast your eyes on forty-nine rattlesnakes
Oh, I hear you
I hear you

You've had a long hike
Your interest spiked
You chew a cactus like jam
Your mind starts to coast
An overdose
Like taking twenty milligrams
Of risperidone
When you're all alone
In the heat zone
All sand and stone
With your mind blown
And your brain grown
You look over the horizon
And feast your eyes on sixty-four llamas
Oh, I hear you
I hear you

You've had a long hike
Your interest spiked
You chew a cactus like jam
Your mind starts to coast
An overdose
Like taking twenty milligrams
Of risperidone
When you're all alone
In the heat zone
All sand and stone
With your mind blown
And your brain grown
You look over the horizon
And feast your eyes on eighty-one vultures
Oh, I hear you
I hear you

You've had a long hike
Your interest spiked
You chew a cactus like jam
Your mind starts to coast
An overdose
Like taking twenty milligrams
Of risperidone
When you're all alone
In the heat zone
All sand and stone
With your mind blown
And your brain grown
You look over the horizon
And feast your eyes on a hundred scorpions
Oh, I hear you
I hear you

You've had a long hike
Your interest spiked
You chew a cactus like jam
Your mind starts to coast
An overdose
Like taking twenty milligrams
Of risperidone
When you're all alone
In the heat zone
All sand and stone
With your mind blown
And your brain grown
You look over the horizon
And feast your eyes on a hundred and twenty-one armadillos
Oh, I hear you
I hear you

You've had a long hike
Your interest spiked
You chew a cactus like jam
Your mind starts to coast
An overdose
Like taking twenty milligrams
Of risperidone
When you're all alone
In the heat zone
All sand and stone
With your mind blown
And your brain grown
You look over the horizon
And feast your eyes on a hundred and forty-four hummingbirds
Oh, I hear you
I hear you
♂♥♂♀

Squirrels chase koi . . . chase squirrels

My Kankonian-English dictionary: 62,500 words and counting

31,416: The number of the conlanging beast!

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Re: Other Creativity

Post by vampireshark » 14 Sep 2019 22:35

Have been doing a bit of new stuff as of late. Some difficulties with sharing (there's now a cap on image size...?), so this would be slightly larger than you see on your screen (but, in your wallet, the same size as a typical credit card).
Image
And I'll dance with you in Vienna,
I'll be wearing a river's disguise;
The hyacinth wild on my shoulder,
My mouth on the dew of your thigh...

Looking for subjects to appear on banknotes. Inquire within.

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Re: Other Creativity

Post by Zekoslav » 15 Sep 2019 11:23

Can anyone guess which scale this is supposed to play? [;)]

Image
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Re: Other Creativity

Post by Khemehekis » 21 Sep 2019 15:11

"Make It Your Own"
by James Landau © 2019

The day we met, you were unsure
I made you feel so damn secure
The two of us played Scrabble
At literature, we've dabbled
You pen the story of a knight
And Moorish girl who loves him right
I wrote of adolescents
As dark as Evanescence

You're a stunning spliff, my special gift, and
I'm a stoner stoned
I'll pack up so you can
Make it your own, make it your own

Neither of us fit the mold
You are Black and I am Gold
You were raised Jehovah's Witness
My deist views never splittin' us
You're 6w5, I'm 4w3
INFJ, ENFP
You're a lion, I'm a virgin
You're cyclin' and I'm purgin'

I'm that burning flash, a stinging rash, and
You're some prednisone
I'll pack up so you can
Make it your own, make it your own

I ceased to meet with you, and I
Was in the dark as to just why
You taught me your name's spelling
An Astrid Lindgren retelling
You made it through your pregnancy
Stayed up till four to talk to me
Prayed for the day your embrace took
The place on talking on Facebook

I'm the newborn calf of a giraffe, and
You're my ossicone
I'll pack up so you can
Make it your own, make it your own

I learned the truth, I learned the state
Can hate and can discriminate
You're so afraid to come over
Share Cadburys, Russell Stovers
Eventually, God gave to you
A fourth pink to go with one blue
We'll be together someday
At my new house, you'll come stay

You're a telomere whose end is near, and
I'm a chromosome
I'll pack up so we can
Finally go home, finally go home
♂♥♂♀

Squirrels chase koi . . . chase squirrels

My Kankonian-English dictionary: 62,500 words and counting

31,416: The number of the conlanging beast!

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Re: Other Creativity

Post by sangi39 » 13 Oct 2019 17:56

Zekoslav wrote:
15 Sep 2019 11:23
Can anyone guess which scale this is supposed to play? [;)]

Image
I don't know enough about scales to guess a name, but is that four whole tones, a two-third tone, and a one-third tone, and then two more whole tones per octave?

0 : 261 : C
200 : 293 : D
400 : 329 : E
600 : 369 : F#
726 : 397 : G (ish)
800 : 414 : G#
1000 : 465 : A#
1200 : 522 : C

Lydian minor, maybe? But then that last C, I think, runs into the next note, which I would assume would be the full octave up. Now I don't know [:P] Is it an octatonic scale?
You can tell the same lie a thousand times,
But it never gets any more true,
So close your eyes once more and once more believe
That they all still believe in you.
Just one time.

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Re: Other Creativity

Post by sangi39 » 13 Oct 2019 18:40

Planning on adding a star fort to the ever-growing build on Minecraft:

Image

The main castle is getting repurposed entirely as basically a gigantic barracks area, under the direct control of an emperor (who basically acts as the supreme military leader of the nation), while the star fort would be more of an administrative centre under the direct control of a king (the lore being that the king is the eldest son of the eldest sister of the previous emperor).

Knowing me, I'll want to add in a third giant structure, like a university and/or religious site, but we'll get to that [:P] And then surrounding aaallllll of that, they're just be your standard residential areas, various trade buildings, inns, and around the ports I'm thinking pretty large market.
You can tell the same lie a thousand times,
But it never gets any more true,
So close your eyes once more and once more believe
That they all still believe in you.
Just one time.

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Re: Other Creativity

Post by Zekoslav » 14 Oct 2019 11:05

sangi39 wrote:
13 Oct 2019 17:56
Zekoslav wrote:
15 Sep 2019 11:23
Can anyone guess which scale this is supposed to play? [;)]

Image
I don't know enough about scales to guess a name, but is that four whole tones, a two-third tone, and a one-third tone, and then two more whole tones per octave?

0 : 261 : C
200 : 293 : D
400 : 329 : E
600 : 369 : F#
726 : 397 : G (ish)
800 : 414 : G#
1000 : 465 : A#
1200 : 522 : C

Lydian minor, maybe? But then that last C, I think, runs into the next note, which I would assume would be the full octave up. Now I don't know [:P] Is it an octatonic scale?
It's a poor man's tuning theory addict's version of the altered scale. So C, Db, Eb, Fb, Gb, Ab, Bb, C. Dividing the fretboard into equally spaced parts results in unequally spaced notes, and which notes you get depends on how many parts you divide the fretboard into. Fourteen parts gives you the altered scale, I have twenty-eight parts so I can play it in two octaves (wider frets lower octave, narrower frets higher octave). Each note is the ratio of how many parts to the right of the fret : how many parts in total. So Db is 26 : 28, Eb is 24 : 28, etc... You can convert these ratios to cents here (but turn them around so higher number is on top, that's needed to convert them into cents). Many notes are actually quite off their standard values!

The frets which break the pattern are perfect fifths which allow me to play the istrian scale also.
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Re: Other Creativity

Post by sangi39 » 14 Oct 2019 20:54

Zekoslav wrote:
14 Oct 2019 11:05
sangi39 wrote:
13 Oct 2019 17:56
Zekoslav wrote:
15 Sep 2019 11:23
Can anyone guess which scale this is supposed to play? [;)]

Image
I don't know enough about scales to guess a name, but is that four whole tones, a two-third tone, and a one-third tone, and then two more whole tones per octave?

0 : 261 : C
200 : 293 : D
400 : 329 : E
600 : 369 : F#
726 : 397 : G (ish)
800 : 414 : G#
1000 : 465 : A#
1200 : 522 : C

Lydian minor, maybe? But then that last C, I think, runs into the next note, which I would assume would be the full octave up. Now I don't know [:P] Is it an octatonic scale?
It's a poor man's tuning theory addict's version of the altered scale. So C, Db, Eb, Fb, Gb, Ab, Bb, C. Dividing the fretboard into equally spaced parts results in unequally spaced notes, and which notes you get depends on how many parts you divide the fretboard into. Fourteen parts gives you the altered scale, I have twenty-eight parts so I can play it in two octaves (wider frets lower octave, narrower frets higher octave). Each note is the ratio of how many parts to the right of the fret : how many parts in total. So Db is 26 : 28, Eb is 24 : 28, etc... You can convert these ratios to cents here (but turn them around so higher number is on top, that's needed to convert them into cents). Many notes are actually quite off their standard values!

The frets which break the pattern are perfect fifths which allow me to play the istrian scale also.
Iiiiiiinteresting! [:D] I haven't come across altered scale yet, I don't think.
You can tell the same lie a thousand times,
But it never gets any more true,
So close your eyes once more and once more believe
That they all still believe in you.
Just one time.

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Re: Other Creativity

Post by vampireshark » 01 Dec 2019 11:42

Latest stuff. (And thing.)
Image
And I'll dance with you in Vienna,
I'll be wearing a river's disguise;
The hyacinth wild on my shoulder,
My mouth on the dew of your thigh...

Looking for subjects to appear on banknotes. Inquire within.

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Re: Other Creativity

Post by Salmoneus » 03 Dec 2019 22:09

*cackles maniacally*

IT IS COMPLETE!

Yes, I have spent a ridiculous amount of time on it (including, unexpectedly, at one point having to multiply all the numbers by exactly 0.9876543210, which surprised me a little...), but verily it is complete (or, at least, this is complete... the next one hasn't been started yet).

Behold the wondrous work:


https://vacuouswastrel.files.wordpress. ... yimage.png


Yes, it's... impressive. Impressive how I've managed to spend so much time working out something that's not only useless, but that hardly anyone would even be able to identify!


For the curious, a hint: it's nothing SF-nal or fantastical, entirely mundane, and it would actually work if you built it in the proportions shown here. In theory. Although it's only (semi-)perfectly to scale vertically - the vertical lines should probably be about twice as far apart horizontally, for the sake of practicality, although maybe a little less than that in later eras. Oh, and the horizontal line is only traditional and/or of use in construction, it has no actual role in how it's used...


Still, I'm actually a little proud of myself working that out!


EDIT: sorry, I would have put that image directly in the post, but it's too tall, and if I shrink it down, you may not be able to make out the details (and there aren't a lot of details to begin with, so I don't want to lose them!).

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Re: Other Creativity

Post by gestaltist » 04 Dec 2019 11:21

Is it a musical instrument, Sal?

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Re: Other Creativity

Post by Salmoneus » 04 Dec 2019 21:39

*deflated*

Yes, yes it is.

But do you know how it works, eh? And what scale is it in?

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Re: Other Creativity

Post by Salmoneus » 04 Dec 2019 22:05

sangi39 wrote:
13 Oct 2019 18:40
Planning on adding a star fort to the ever-growing build on Minecraft:
Hope you don't mind a few questions...

I was perplexed in your earlier comment about trying to avoid having the interior buildings of your castle peek over the battlements - having the interior (or sometimes exterior) buildings peek over the battlements is what castles are designed to do. Because range increases with the height of the archer (/catapultist/etc), there's an asymmetry as regards lines of sight with one end elevated. The defender is trying to shape their castle so as to be able to concentrate more fire on attackers than attackers can return, and being able to fire from multiple platforms, some of which are beyond range from the ground, is an easy way to do that (it's also why castles have projecting bastions and the like, to create enfilades).

This holds good until the introduction of canons... after which the castle becomes obsolete anyway, and no longer has to worry about defensibility.

The main castle is getting repurposed entirely as basically a gigantic barracks area, under the direct control of an emperor (who basically acts as the supreme military leader of the nation), while the star fort would be more of an administrative centre under the direct control of a king (the lore being that the king is the eldest son of the eldest sister of the previous emperor).
This seems doubly the wrong way around, to me.
First, it's usually the older of the two co-rulers who is in charge of administration, and the younger who is in charge of the military: the former is associated with wisdom and experience, while the latter requires courage and physical fitness (as military rulers generally have to be part of the military themselves).

Second, in an era in which star forts exist, castles no longer have any serious military use: if it came to a war, they'd be obliterated. As a result, what happened in reality was that old castles in convenient locations were repurposed as administrative centres, while the star forts were used for continued military purposes - the opposite of what you have. Fundamentally, it makes no sense having your good fortress be manned by clerks, and to have your soldiers man a structure with no defensive utility.

[I'm also not sure how many star forts were actually built inside cities - they tended to be built around the city instead (because they were built by more powerful cultures, and because they're actually cheaper to build than mediaeval fortifications).


[You're building a star fort but haven't been tempted to include any ravelins?]

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Re: Other Creativity

Post by Zekoslav » 06 Dec 2019 15:07

Re: Sal's musical instrument. It might work as a plucked string instrument, although it's a very complex (or at least not immediately decipherable one). Through a very delicate and precise procedure of measuring wire lengths on an enlarged version of this image by a ruler, I found out that both whole strings and strings stopped at one of the points produce justly tuned intervals, albeit somewhat unusual ones. Alas, this delicate procedure tired me before I was able to decipher the whole instrument.

whole strings arranged from the longest to the shortest one produce the following scale: 1/1, 9/8, 6/5, 9/7, 10/7*, 8/5*, 53/32*, 20/11* and 22/19 plus an octave.

*my measurements indicated much larger ratios for strings 5 to 8, but these turned out to be no more than a cent or two different from the much smaller ratios listed here. Although I don't know why the major sixth is represented by the 53rd harmonic rather than 5/3 for example!

Likewise, many strings (strings 3, 5, 8) are split in half by a dot, indicating octaves, others have dots for other intervals such as 7/6 and 13/8 (string 6), 9/5 (string 1) and 8/5 (string 2). Most dots being aligned with dots on other strings definitely isn't a coincidence but I gave up trying to decipher why.
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Re: Other Creativity

Post by Salmoneus » 06 Dec 2019 21:23

Wow! I wasn't expecting anyone to actually measure properly!

(it's entirely possible you measured better than I did, although I did try - unfortunately, graphics program, the old "measure with micrometer, mark with chalk, cut with axe" process very much applies)

--------------

So, yes, it's a(n unfretted) plucked string instrument. (I'm kind of curious why you say 'plucked', though - why couldn't it have been bowed?)

Tuning is by length, not by tension - so more like a psaltery, zither, harp, etc, rather than guitars, violins etc. [organologically, it's a zither] The speaking lengths of the strings (shown here) terminate at bridges - originally, both bridges are moveable, but later on the upper bridge becomes fixed.

One reason for the complexity is that this is an instrument in transition - it begins as an instrument where all strings are played open, which is why there are so many of them, but in this era it's actually primarily played with all strings closed. It retains the number of strings partly out of tradition, and partly for versatility - the strings are closed by pinching (later, touching with knuckles), and thus the closed strings are notably quieter than the open strings, with closed strings used in its primary function as a solo or voice-accompanying instrument, but with open strings used in dance ensembles.

There's actually a string missing, and this may throw off any measurements: the longest string is 100.833% the length it 'should' be. [the string lengths are measured in a unit such that the longest string 'should' be 120 units, but is instead 121 units. This enables you to play a closed 120 note on it. There should, however, be an additional true 120 string, for use as an open string]

--------

The tuning is weird. I began with a plain pentatonic scale, starting with what I'll call D: G and A are built as perfect fifths above, and a 9:8 pythagorean major second between them. C and E are then constructed from D by the same 9:8 ratio. This gives a very simple and manipulable pentatonic.

However, at some point people decided they didn't like the fact that the minor thirds are those horrible 32:27 pythagorean things. They thought they should be 6:5 instead - which is easy to do if you just make C:D and G:A into 10:9 seconds instead of 9:8s. This gives a wolf fourth D:G, but since these people didn't use a lot of harmony anyway, this wasn't seen as a massive problem. Doing this also has a big practical advantage, incidentally: if your longest string is 120 units, a convenient number for dealing with fractions and ratios, the 'pure' pentatonic requires most of your string lengths to be irrational numbers (or, at least, numbers that look irrational to the naked eye). Whereas this adjusted system with two different sizes of second helpfully makes all your strings an integer length!

[note to self: I could just have kept G:A and narrowed D:E instead, which would arguably have made more sense. But wouldn't have been as much fun!]

Now, at some point these people get more interested in modulation, specifically from D to G - but the seconds no longer match up. D-E-G is 9:8, 6:5, whereas G-A-C is 10:9, 6:5. Not a fatal problem, but people gradually increased the symmetry by tended to make G:A a 9:8 second again. If you do that while keeping the D-E-G and G-A-C ratios intact, that means producing a really distinctive C-D second: 800:729. This is known as the grave whole tone, and it lies between the greater and lesser undecimal seconds. Helpfully, it's actually a five-limit interval! And the interval, in decimal, between a 10:9 second and a grave second? 0.9876543210! Which was fun (since I was using C as my base, I had to multiply all the higher string lengths by this number when I lowered the D).

Anyway, in musical terms, what this does is make C a really sharp and vivid leading note for D, which, still, was the primary tonic. So what was probably originally introduced as a cludge by musicians who hadn't yet sat down and worked out all the maths was instead adopted (by some ethnic groups) as an intentional feature (I refer to scales built on this idea, for my own reference, as 'gravetone').


This grave tone was then extended to the interval between D and E (making the C-D-E sequence symmetrical). All of this, however, has the downside of making ALL the fourths and fifths wolves, so as people began to want more harmony, they reset G and A as perfect intervals above D (giving up on D-E-G vs G-A-C symmetry after all). This turns the minor thirds (in this case E-G and A-C) both into 243:200 intervals ('acute minor thirds'). [in practice, the acute minor third is less than a cent away from the much simpler superminor third, so they were probably tuned closer to that in many cases].

THEN, people adopted a heptatonic scale, by constructing an F a grave tone below G, and a B a grave tone below A, reflecting the role of G and A as secondary tonal centres. This yields a scale that features not just 800:729, but the positively nightmarish 535581:500000, an interval so ghastly that nobody's ever needed to name it! However, in practice, this interval is almost identical to the much simpler 15:14 septimal semitone - within both aural and constructional margins of error.

So, that's the tuning system this instrument is built to - more or less. It's not exact, because the open strings are (in theory, depending on whether my hand slipped!) only accurate to a tenth of a unit.

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You couldn't really be expected to guess that!


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Anyway, why are the dots lined up? Simple: ease of use. This is an unfretted instrument, so you have to know (approximately) where to stop the string (in practice, I'm sure it varies considerably from the gravetone heptatonic outlined here, probably with intervals varying depending on function). [although there are marks on the soundboard, the circles, to help you learn]. This is rather easier if you only have to learn eight string positions rather than fifteen.


The problem is, however: because the ratios in this 'gravetone' scale are, frankly, fucked up, it's very difficult to get stop positions to line up. So, although that horizontal line is the notional centre-line of the strings, most of the strings have been shifted slightly up or down, in order to get the stop positions to line up as well as they do here (which is to say, still not very well...). And, incidentally, they still don't actually line up perfectly, so if you play the stop the strings at those points, each note will be slightly 'out of tune', and each one by a different amount. However, although the strings lengths are only rounded to the tenth of a unit, and stop positions and string shifts are both rounded to only a quarter of a unit, the actual error for each string, if you set the strings up like this should, in theory, be very small indeed - again, within the margin of aural and constructional error.


EDIT: yeah, no. working out all the ratios in cents for the actual instrument and putting them into a music programme... ugh. the ideal scale was already piquant but this may be TOO pungent. Hmm....

(except, surprisingly, the Fs. Upper F is 3 thousandths of a cent off equal tempered! And as a result it sounds the worst of them all...)

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This sort of highly idiosyncratic tuning would of course not be very suitable for highly harmonic, sophisticated music. However, this music traditionally has only minimal harmony, and the aesthetic is fairly rustic and human. Pure ratios are less important than a pungent and distinctive melodic feel.





[I'm now annoyed by this not working as well as I thought it would. So, I'll share a happier thought: by taking a detour from the above chain of pentatonic development, my main conculture in the area has a beautifully elegant pentatonic scale: it contains five intervals between adjacent notes, which are exactly 6:5, 7:6, 8:7, 9:8 and 10:9 (not in that order). I didn't do that on purpose, it just fell out that way! It's messed up a bit by making it heptatonic, but even so...

Salmoneus
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Re: Other Creativity

Post by Salmoneus » 07 Dec 2019 02:31

Update: hmm. After listening to it more, I think it can work. I think part of it is finding the melodic combinations that suit the scale, rather than over-emphasising its 'flaws'.

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