Yahoo Tuning Groups Ultimate Backup tuning A gentle introduction to Fokker periodicity blocks, part 2

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*A gentle introduction to Fokker periodicity blocks, part 2*
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Last time we saw how choosing a single "unison vector", or interval too
small to warrant a distinction in pitch, reduces the infinite resources of
3-limit just intonation (or Pythagorean tuning) to a finite scale. The
number of pitches in this scale turned out to be the number of fifths in the
chain between the two notes defining the unison vector. Our examples were a
pentatonic scale, defined by a unison vector of 5 fifths, a "Pythagorean
limma" of 90 cents; and a 12-tone scale, defined by a unison vector of 12
fifths, a "Pythagorean comma" of 23 cents.

Now let's consider 5-limit just intonation. It can be considered an infinite
succession of 3-limit JI systems, separated by just major thirds (5:4
ratio). Let us put our familiar 3-limit system in the middle, and stack its
transpositions by a 5:4 up, upwards, and by a 5:4 down, downwards:
. . . . . . .
. . . . . . .
. . . . . . .
| | | | | | |
| | | | | | |
...--50/27---25/18---25/24---25/16---75/64--225/128-675/512-..
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
...--40/27---10/9-----5/3-----5/4----15/8----45/32--135/128-...
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
...--32/27---16/9-----4/3-----1/1-----3/2-----9/8----27/16--...
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
...-256/135--64/45---16/15----8/5-----6/5-----9/5----27/20--...
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
...1024/675-256/225-128/75---32/25---48/25---36/25---27/25--...
| | | | | | |
| | | | | | |
. . . . . . .
. . . . . . .
. . . . . . .
We could have used 5:3 instead of 5:4, but this way is a bit easier to
remember: gaining a factor of 3 means moving one place to the right, and
gaining a factor of 5 means moving one place upwards.

Now say we again start in the middle (1/1) and start adding notes around it.
Unlike the 3-limit case, the direction we move in this lattice amy affect
which small intervals we end up finding. Say we just look at the notes
adjoining 1/1. The interval between 6/5 and 5/4, as well as that between 8/5
and 5/3, is a chromatic semitone or about 71 cents. This interval is always
produced on this lattice by moving one step to the left and two steps up. In
other words, it corresponds to losing (dividing by) a factor of 3 and
gaining (multiplying by) two factors of 5. In vector notation, we may write

(-1 2) = 71 cents.

Unlike the 3-limit case, a single unison vector in the 5-limit lattice does
not collapse the infinite pitch variety into a finite set. It may be
considered to collapse it into a single vertical line (since every note is
equivalent to another note in an adjoining vertical line), or a set of two
parallel horizontal lines (since every note is equivalent to a note two
horizontal lines away), or a diagonal band, but in any case the number of
distinct pitches is still infinite. We need to define one more unison vector
to get a finite set of pitches.

If we add a few more notes related by fifths to those adjoining 1/1, we soon
find pairs of notes with small intervals between them. The interval between
10/9 and 9/8, as well as that between 16/9 and 9/5, is a syntonic comma or
about 22 cents. On the lattice, it corresponds to any move of four steps to
the right and one step down:

(4 -1) = 22 cents.

With these two unison vectors, we may now find a finite set of pitches which
is equivalent to the whole infinite lattice. How do we go about this?
Fokker's solution was to draw a parallelogram having the two unison vectors
as sides. In this case, two opposite sides of the parallelogram would slope
one step to the left and two steps up, while the other two sides would slope
four steps to the right and one step down. This parallelogram would be wide
enough along each of the unison vectors to contain one and only pitch from
each equivalence class. Moreover, the parallelogram shpae would tile the
plane, so that every pitch would fall into one and only one parallelogram.
Let us illustrate this for our example:
. . . . . . .
. . . . . . .
. . . . . . .
| | | | | | *
* | * | | | |* | |
...-50/27*---25/18---25/24---25/16---75/64--225/128-675/512-..
| * | | | | * | |
| | * | | | | |
| *| * | | | * | |
| | | * | | | |
| * | * | | * | |
| | | | * | | |
| |* | | * | * | |
...--40/27---10/9-----5/3-----5/4----15/8*---45/32--135/128-...
| | * | | | * | |
| | | | | | * |
| | * | | | *| * |
| | | | | | | *
* | | * | | | * |
| * | | | | | |
| * | * | | | |* |
...--32/27---16/9*----4/3-----1/1-----3/2-----9/8----27/16--...
| | * | | | | * |
| | | * | | | |
| | *| * | | | * |
| | | | * | | |
| | * | * | | * |
| | | | | * | |
| | |* | | * | * |
...-256/135--64/45---16/15----8/5-----6/5-----9/5*---27/20--...
| | | * | | | * |
| | | | | | | *
* | | | * | | | *|
| * | | | | | |
| * | | * | | | *
| | * | | | | |
| | * | * | | | |*
..1024/675-256/225-128/75*---32/25---48/25---36/25---27/25--...
| | | * | | | | *
| | | | * | | |
. . . . . . .
. . . . . . .
. . . . . . .
Using our two unison vectors, we have divided the plane into identical
parallelograms, each of which has seven lattice points (notes) inside of it.
The parallelogram that is completely visible in the diagram above surrounds
the ratios that most JI enthusiasts associate with the major scale. Every
other parallegram has exactly the same configuration of notes, and each of
its notes is equivalent, through trasposition by one or more unison vectors,
to one and only one note of the central major scale. Thus we may want to say
that the major scale is a periodicity block in the 5-limit lattice.

Unlike the 3-limit case, though, moving the boundaries of the periodicity
block does not necessarily lead to the same scale. For example, we could
just as easily have drawn our parallelograms like this:
. . . . . . .
. . . . . . .
. . . . . . .
| | | | * | |
| * | | | |* | |
...-50/27----25/18---25/24---25/16---75/64--*225/128-675/512-..
| * | | | | * |* |
| | | | | | * |
| *| | | | * | |*
* | | | | | | |
|* * | | | * | |
| * | | | | | |
| |* | | | * | |
...--40/27---10/9---*-5/3-----5/4----15/8----45/32--135/128-...
| | * |* | | * | |
| | | * | | | |
| | * | |* | *| |
| | | | * | | |
| | * | | |* * |
| | | | | * | |
| | * | | | |* |
...--32/27---16/9-----4/3-----1/1-----3/2-----9/8---*27/16--...
| | * | | | | * |*
* | | | | | | |
|* | *| | | | * |
| * | | | | | |
| |* * | | | * |
| | * | | | | |
| | |* | | | * |
...-256/135--64/45---16/15--*-8/5-----6/5-----9/5----27/20--...
| | | * |* | | * |
| | | | * | | |
| | | * | |* | *|
| | | | | * | |
| | | * | | |* *
| | | | | | * |
| | | * | | | |*
...1*24/675-256/225-128/75---32/25---48/25---36/25---27/25--...
|* | | * | | | | *
| * | | | | | |
. . . . . . .
. . . . . . .
. . . . . . .
giving the JI _minor_ scale as the periodicity block. This scale is not
quite the sixth mode of the major scale; one note needs to be transposed by
a syntonic comma to make one scale a mode of the other. Or another
possibility is to center the parallelogram on 1/1, giving:
. . . . . . .
. . . . . . .
. . . . . . .
|* | | | * | * | |
| | | | | * |
...-50/27*---25/18---25/24---25/16---*75/64-225/128*675/512-..
| | | | | | *
* | * | | | *| | |
* | | | | | |
| * | | | * | |
| * | | | | |
| * | * | | |* | |
| | * | | | |
...--40/27---*10/9----5/3--*--5/4----15/8*---45/32--135/128-...
| | | * | | |
| *| | | * | * | |
| | | | * | |
| * | | | * | |
| | | | | * |
| |* | | | * | * |
| | | | | | *
...*-32/27---16/9*----4/3-----1/1-----3/2----*9/8----27/16--...
* | | | | | |
| * | * | | | *| |
| * | | | | |
| | * | | | * |
| | * | | | |
| | * | * | | |* |
| | | * | | |
...-256/135--64/45---*16/15---8/5--*--6/5-----9/5*---27/20--...
| | | | * | |
| | *| | | * | * |
| | | | | * |
| | * | | | * |
| | | | | | *
| | |* | | | * |
* 256| | | | | |
..1024/675-*--/225-128/75*---32/25---48/25---36/25---*27/25-...
| * | | | | |
| | * | * | | | *|
. . . . . . .
. . . . . . .
. . . . . . .
sort of a JI "dorian" scale. In general, then, we can only say that the two
unison vectors we have chosen define a periodicity block that is some sort
of diatonic scale, but we can't be totally precise as to its JI
construction, as any of the notes may be transposed by a unison vector and
the important properties of the periodicity block will be maintained.

Mathematically, the unison vectors define 7 equivalence classes in the JI
lattice. No matter where we put the paralellograms, each one will have
exactly 7 lattice points inside it, equivalent (through unison vectors) to
the 7 lattice points inside every other parallelogram. This is true because
the area of each parallelogram is exactly 7 (if you consider each step in
both directions of the lattice to be of length 1) and it can be proved that
a parallelogram of area N whose edges are defined with integer vectors
always contains exactly N lattice points no matter where you put it. (If you
put an edge right on a lattice point, you can consider it to be 1/2 inside
and 1/2 outside the parallelogram, and if you put a corner right on a
lattice point, you can consider it to be 1/4 inside, or a fraction
determined by the angle of that corner divided by 360 degrees -- either way,
you will always end up counting exactly N lattice points inside the
parallelogram.)

Is there a way to calculate the area of the parallelogram from the vector
representation of the unison vectors? Yes, there is! First, put the unison
vectors together into a matrix (the order doesn't matter):

( 4 -1)
( )
(-1 2)

(those are supposed to be big parentheses around the matrix)

Now, calculate the determinant of the matrix:

| 4 -1|
| | = 7.
|-1 2|

In case you didn't know, the formula for the determinant of a
2-by-two-matrix is:

|a b|
| | = a*d - b*c
|c d|

If you like geometry, you can convince yourself that this is indeed the
formula for the area of a parallelogram whose sides are defined by vectors
(a b) and (c d). Don't worry if the determinant comes out negative; you can
throw out the minus sign for these purposes.

Let's try another one, since most of us would consider a chromatic semitone
a large enough interval to distinguish on our JI instruments. Proceeding to
add notes related by a major third to those adjacent to 1/1, we find that
25/16 is close to 8/5, and 5/4 is close to 32/25, the difference in each
case being a lesser diesis, or about 41 cents. As a unison vector, this is
written:

(0 3) = 41 cents.

If we take this and the syntonic comma as our two unison vectors, we may
draw periodicity blocks like so:
. . . . . . .
. . . . . . .
. . . . . . .
| * | * | | | | * |
| * | | | | |
...--50/27---25/18-*-25/24---25/16---75/64--225/128*675/512-..
| | * | | | |
| | * | * | | | * |
| | | * | | |
| | * | | * | | * |
| | | | * | |
| | * | | | * | * |
| | | | | * |
...--40/27---10/9--*--5/3-----5/4----15/8----45/32-*135/128-...
| | | | | | *
| | * | | | | * | *
| | | | | | |
| | * | | | | * |
| | | | | | |
| | * | | | | * |
| | | | | | |
...--32/27---16/9--*--4/3-----1/1-----3/2-----9/8--*-27/16--...
| | | | | | |
| | * | | | | * |
| | | | | | |
* | | * | | | | * |
* | | | | | |
| * | * | | | | * |
| * | | | | |
...-256/135--64/45-*-16/15----8/5-----6/5-----9/5--*-27/20--...
| | * | | | |
| | * | * | | | * |
| | | * | | |
| | * | | * | | * |
| | | | * | |
| | * | | | * | * |
| | | | | * |
...1024/675-256/225*128/75---32/25---48/25---36/25-*-27/25--...
| | | | | | *
| | * | | | | * | *
. . . . . . .
. . . . . . .
. . . . . . .
This periodicity block has 12 notes in it, and corresponds to one of the
proposals for a 12-tone JI system (was it Ramos?) Another famous system
defined from the same unison vectors, but only a mode of the other when two
notes are transposed by a lesser diesis, is shown here:

. . . . . . .
. . . . . . .
. . . . . . .
* | * | | | | * | |
* | | | | | |
| * | | | | * | |
| * | | | | |
| * | * | | | * | |
| | * | | | |
...--50/27-*-25/18---25/24-*-25/16---75/64-*225/128-675/512-..
| | | * | | |
| * | | | * | * | |
| | | | * | |
| * | | | | * | |
| | | | | * |
| * | | | | * | * |
| | | | | | *
...--40/27-*-10/9-----5/3-----5/4----15/8--*-45/32--135/128*...
| | | | | | |
| * | | | | * | |
| | | | | | |
| * | | | | * | |
| | | | | | |
| * | | | | * | |
| | | | | | |
...--32/27-*-16/9-----4/3-----1/1-----3/2--*--9/8----27/16--...
| | | | | | |
* | * | | | | * | |
* | | | | | |
| * | | | | * | |
| * | | | | |
| * | * | | | * | |
| | * | | | |
...-256/135*-64/45---16/15-*--8/5-----6/5--*--9/5----27/20--...
| | | * | | |
| * | | | * | * | |
| | | | * | |
| * | | | | * | |
| | | | | * |
| * | | | | * | * |
| | | | | | *
...1024/675*256/225-128/75---32/25---48/25-*-36/25---27/25-*...
| | | | | | |
| * | | | | * | |
. . . . . . .
. . . . . . .
. . . . . . .
Can we verify that these parallegrams always have area 12, and so always
define a 12-tone system, from the numbers alone? Yes:

|4 -1|
| | = 4*3 - (-1)*0 = 12-0 = 12
|0 3|

I know this one was much more difficult than the first one, and I'm sure a
lot of things could have been explained better. So questions, please, and
next time we'll consider some 3-D (7-limit) examples, and we'll have to get
a little more abstract since it's hard to show the configuration of soild
figures in a 3-D lattice using ASCII text!

A gentle introduction to Fokker periodicity blocks, part 2

🔗Paul H. Erlich <PErlich@xxxxxxxxxxxxx.xxxx>

🔗Paul H. Erlich <PErlich@xxxxxxxxxxxxx.xxxx>

🔗jpff@xxxxx.xxxx.xx.xx

🔗manuel.op.de.coul@xxx.xxx

🔗Carl Lumma <clumma@xxx.xxxx>

🔗Paul Hahn <Paul-Hahn@xxxxxxx.xxxxx.xxxx>

🔗Paul Hahn <Paul-Hahn@xxxxxxx.xxxxx.xxxx>

🔗Carl Lumma <clumma@xxx.xxxx>

🔗Paul Hahn <Paul-Hahn@xxxxxxx.xxxxx.xxxx>

🔗Carl Lumma <clumma@xxx.xxxx>

🔗manuel.op.de.coul@ezh.nl