Tuesday, June 10, 2008

difference between just intonation and the Lambdoma

I have done some more research and now understand the difference between
Just Intonation and Pythagoras tuning. My next question was whether there is a difference between Just Intonation and the Lambdoma tuning.

I notice you link to the Just Intonation Network on your links page, and am very curious what the relationship is between the two systems, or if they are even different from one another.

I was also curious if you know much about the Chinese Kung fundamental frequency, 344.12 Hz, and the Indian Om fundamental, 136.10221 Hz, and how they might fit into the picture. I remember you mentioning that one can
pick any fundamental frequency they wish to employ the Lambdoma matrix of relationships. Finally, I find it interesting how they had changed the standard concert pitch from 435 Hz to 440 Hz in 1939, apparently the old concert pitch brought other pitches much close to the ones I describe than they are now.

At any rate, I am looking forward to gathering the information needed to generate either one ideal scale with my synthesizers, to begin to apply to new compositions, or a set of scales I can compare against one another.

I would be greatly indebted if you could explain or refer me to the most pertinent information I would need to be able to dive directly into the musical creation I want to do - is there one particular tuning system that would be most ideal, bypassing my need otherwise to compare several scales against one another?

I have speculated that it would be the Lambdoma system using Kung as the fundamental, and if my theory were to prove correct, the Om frequency would correspondingly be a part of the subharmonic system using Kung as the reference.

Thank you for your continuing support to get me set up with an appropriate scale system to compose with, I am looking forward to abandoning the modern tempered scale system, if only the one that references 440Hz, since I theorize that the 435Hz equal temperament could be still of value.

My greatest theory at the moment concerning this particular topic is that the 440Hz system was implemented to further separate the majority of the public from beneficial audio frequencies as much as possible. It unfortunately takes on the appearance of a conspiracy theory, but at least in this case, it is something we can actually do something about - if not
with most traditional acoustic instruments, then at least with programmable electronic instruments - which is what I will willingly limit myself to, if I arrive at the conclusion that this is the only portion of the acoustic palette with which I might compose music that would be more than of just superficial interest to potential listeners.

This was all along my greatest ambition - to unlock the forgotten powers of music and invest them into a reawakening of the population, if possible.

The difference between just intonation and the Lambdoma seems to be that some just intonationists' extend the octave.

The lambdoma is a matrix and it includes all 8 intervals into the matrix. You set the generating frequency at 344.12 or 136.10220 or whatever you want and the entire matrix of 256 entries is transformed into harmonic and subharmonic scales all relative to your generating harmonic.

I don't think that there is an ideal scale or ideal frequencies. It is my experience that each person has their own frequency vibration. That is why in my private sessions I let each person find their own keynote from the matrix that is set at 256Hz. That becomes the control for all of my data for over 300 individuals.

I don't see how I can help you unless you worked directly with a Lambdoma keyboard, as you are dealing with 256 different harmonic intervals with every keynote you picked.

Hope that I have been of some help to you.


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