Odd impressions -- shall we compare notes?

Hello, everyone, and I'd like to share quickly a few
impressions about my present state that might possibly
invite interesting comparisons from others, or at least
attempt to describe an experience that reflects one side of
making microtonal or "alternatively tuned" music.

First, please let me express my appreciation, Shaahin, for
your "shurist" piece recently posted, and for the tuning.
That calls for a distinct post in its own right, and I hope
to do it soon -- but my immediate purpose is to try to
explain my reaction.

Today I'm very tired because of some developments mostly
unrelated to music, and hope that tomorrow I will have more
energy. Anyway, I find that Shaahin's scale division
prompted me to borrow lots of the ideas and approximate
interval sizes for a Peppermint variation -- thank you for
the creative energy of your music and theory alike.

The curious thing is that I can put together and analyze
Scala files, and also very usefully practice at the
keyboard. A lot of my practice concerns different versions
of Persian patterns such as Shur, Nava, and Afshari -- as
well as variations on Arabic tetrachords such as Rast --
available in the 11-note set I've chosen within Peppermint
24 as a variation on Shaahin's "shurist.mp3" tuning.

However, I somehow feel that to do a recording that I'm
going to post on the Internet, I should be in a more fresh
and rested condition. From one viewpoint, this is an extra
opportunity to practice in a relaxed way, to internalize
some melodic patterns and also patterns of counterpoint with
which I am experimenting. I tell myself that the more the
patterns become spontaneous -- maybe one of the meanings of
"learning the theory and then letting it go" when actually
performing -- the more fluidly I should be able to do
something posted here.

Further, what I'm saying doesn't apply only to my new
"shurist"-inspired set. It also applies to a "Yahya12"
tuning inspired by one of Yahya's JI scales, and a tuning
which occurred to me as a variation of Jon Lyle Smith's
"pelendro-1" used in an impressive and adventurous piece
posted here called _Quincunx_.

One thing that's happening in the process of all this
adapting and practice, very notably, as I've commented,
driven by scales and pieces posted here, is that I'm
considering how the dastgah concept of Persian music
might influence my organizational approach.

While _dastgah_ often gets translated more or less like
"mode," from another perspective it might be considered a
family of related modes and melodies. This leads me to
consider the different steps and "scales within a scale"
such as the ones inspired by the tunings of Yahya, Jon, and
Shaahin, and seek some kind of tentative scheme or "program"
for an improvisation, almost a kind of "suite."

Anyway, it's maybe a bit humbling as well as pleasant to
say, "I may really not be in the best condition now to make
a recording and post it on MMM, but I can practice and thus
move toward a better performance which maybe will come this
week."

A main lesson might be patience: getting something more or
less "right" takes time, even when one is full of energy.

My warmest thanks to Yahya and Shaahin -- and now also Jon
-- for their patience in this process.

Peace and love,

Margo