Re: 17-tET concert decisions

Dear Jacob and All,

Please let me briefly state that I would consider 17-WT a fine option, for
the following reasons:

(1) It continues the theme of "17" but adds a new element of stimulating
variety.

(2) For people looking for more "consonance," George's temperament
delivers lots of near-just sonorities like ~6:7:9, ~7:9:11:13, and so
forth.

(3) Melodically, the subtle shading of large and small neutral seconds
better fits some traditional musics, permitting one to consider making
distinctions for example between two modes or maqamat such as Rast (often
with a larger neutral second below a smaller one) and Bayyati (tending to
be vice versa).

(4) Since 17-WT preserves smooth circulation, of course, and shouldn't
"break" pieces written for 17-EDO or generically for "any circulating 17,"
it gives composers a certain choice: focus on fine distinctions of key or
modal color, or simply write for "17" and treat the unequal temperament as
simply one possible fluctuation in performance practice -- like whether a
16th-century Western European piece gets performed on a keyboard in
1/4-comma, 2/7-comma, 1/3-comma, or possible 1/5-comma meantone, for
example.

At the same time, I'd like to suggest using the flexibility of electronic
instruments (and maybe traditional flexible-pitch ones also, including the
human voice!) to accommodate people like Gene Ward Smith who might prefer
sustems representing 5-limit intervals, for example, and/or intervals
smaller than a 70-cent semitone or thereabouts (17-WT is about 64-78
cents).

An interesting question is how much difference "17-EDO vs. 17-WT" might
mean to string players, for example. Might "17-WT" translate in part,
"Make fine adjustments to seek 7:6 minor thirds at or very close to a just
267 cents, rather than the 282 cents of 17-EDO or a range down to about
278 cents in 17-WT as a fixed tuning"?

Finally a word to Gene: I've been going through the Scala archive and your
diversity of tunings is incredible! Also, your names are entertaining and
clever! How about a festival based on some of your tunings, whether
realized acoustically or electronically? I've recently devised a tempered
version of "aaron" and a 14-note spinoff (also tempered, for better or
worse) of "akj."

What I've found is that theory, lattices, can indeed be helpful in
considering some possibilities of a tuning one may not have considered.
The balance between practice and theory is a delicate one, and a festival
based on your tunings might be a way to enrich both sides of the equation.

Peace and love,

Margo

Well, put, Margo.

I second the ackgnowledgement of Gene's work. I think there's room in
this universe for practice and theory. Everyone benefits, even if
there are paths we choose not to explore, it's nice to know that they
are there, and that few have tread on them!

Gene, you sure do have a lot of scales in the the Scala archive!

--- In MakeMicroMusic@yahoogroups.com, Margo Schulter <mschulter@...>
wrote:
>
> Dear Jacob and All,
>
> Please let me briefly state that I would consider 17-WT a fine
option, for
> the following reasons:
>
> (1) It continues the theme of "17" but adds a new element of stimulating
> variety.
>
> (2) For people looking for more "consonance," George's temperament
> delivers lots of near-just sonorities like ~6:7:9, ~7:9:11:13, and so
> forth.
>
> (3) Melodically, the subtle shading of large and small neutral seconds
> better fits some traditional musics, permitting one to consider making
> distinctions for example between two modes or maqamat such as Rast
(often
> with a larger neutral second below a smaller one) and Bayyati
(tending to
> be vice versa).
>
> (4) Since 17-WT preserves smooth circulation, of course, and shouldn't
> "break" pieces written for 17-EDO or generically for "any
circulating 17,"
> it gives composers a certain choice: focus on fine distinctions of
key or
> modal color, or simply write for "17" and treat the unequal
temperament as
> simply one possible fluctuation in performance practice -- like
whether a
> 16th-century Western European piece gets performed on a keyboard in
> 1/4-comma, 2/7-comma, 1/3-comma, or possible 1/5-comma meantone, for
> example.
>
> At the same time, I'd like to suggest using the flexibility of
electronic
> instruments (and maybe traditional flexible-pitch ones also,
including the
> human voice!) to accommodate people like Gene Ward Smith who might
prefer
> sustems representing 5-limit intervals, for example, and/or intervals
> smaller than a 70-cent semitone or thereabouts (17-WT is about 64-78
> cents).
>
> An interesting question is how much difference "17-EDO vs. 17-WT" might
> mean to string players, for example. Might "17-WT" translate in part,
> "Make fine adjustments to seek 7:6 minor thirds at or very close to
a just
> 267 cents, rather than the 282 cents of 17-EDO or a range down to about
> 278 cents in 17-WT as a fixed tuning"?
>
> Finally a word to Gene: I've been going through the Scala archive
and your
> diversity of tunings is incredible! Also, your names are
entertaining and
> clever! How about a festival based on some of your tunings, whether
> realized acoustically or electronically? I've recently devised a
tempered
> version of "aaron" and a 14-note spinoff (also tempered, for better or
> worse) of "akj."
>
> What I've found is that theory, lattices, can indeed be helpful in
> considering some possibilities of a tuning one may not have considered.
> The balance between practice and theory is a delicate one, and a
festival
> based on your tunings might be a way to enrich both sides of the
equation.
>
> Peace and love,
>
> Margo
>

--- In MakeMicroMusic@yahoogroups.com, "Aaron Krister Johnson"
<aaron@...> wrote:

> Gene, you sure do have a lot of scales in the the Scala archive!

Some of them have even been used to make music with. There's a way to
get Scala to only look at scales with n notes, but I can't recall what
it is. But that might be interesting as a way of exploring alternative
ways of tuning 17 notes.

--- In MakeMicroMusic@yahoogroups.com, "Gene Ward Smith"
<genewardsmith@...> wrote:
>
> --- In MakeMicroMusic@yahoogroups.com, "Aaron Krister Johnson"
> <aaron@> wrote:
>
> > Gene, you sure do have a lot of scales in the the Scala archive!
>
> Some of them have even been used to make music with. There's a way to
> get Scala to only look at scales with n notes, but I can't recall what
> it is. But that might be interesting as a way of exploring alternative
> ways of tuning 17 notes.

This is where being a Linux geek helps!

I did this terminal command on Manuel's online 'scalesdir.txt' file:

cat scalesdir.txt | grep '\.scl[\t ]*17 ' > 17_note_tunings.txt

The above basically filters his file through a regular expression
parser, and finds all the entries that have 17 notes by looking for
'somescalename.scl (whitespace) 17' for instance. I don't want to get
into regex parsing, but it's a very valuable tool, I'll have you know!

Here's the text of the resultant file, '17_note_tunings.txt', please
excuse the line wrapping:

17-31.scl 17 17 out of 31, with split C#/Db,
D#/Eb, F#/Gb, G#/Ab and A#/Bb
17-53.scl 17 17 out of 53-tET, Arabic Pythagorean
scale
arabic.scl 17 Arabic 17-tone Pythagorean mode,
Safi al-Din
arabic_s.scl 17 Schimatically altered Arabic 17-tone
Pythagorean mode
avicenna_17.scl 17 Tuning by Avicenna (Ibn Sina), Ahmed
Mahmud Hifni, Cairo, 1977
barlow_17.scl 17 11-limit rational 17-equal, Barlow,
On the Quantification of Harmony and Metre
bps_temp17.scl 17 Bohlen-Pierce-Stearn temperament.
Highest 7-limit error 8.4 cents, 2001
cet111a.scl 17 17th root of 3. McLaren 'Microtonal
Music', volume 1, track 8
cet141.scl 17 17th root of 4
cet182.scl 17 17th root of 6, Moreno's C-17
cet87.scl 17 Least-squares stretched ET to
telephone dial tones. 1/1=697 Hz
cet90.scl 17 Scale with limma steps
chalmers_17.scl 17 7-limit figurative scale, Chalmers
'96 Adnexed S&H decads
cons18.scl 17 Set of intervals with num + den <=
18 not exceeding 2/1
coul_17sup.scl 17 Superparticular approximation to
Pythagorean 17-tone scale. Op de Coul, 2003
diaclose.scl 17 Convex closure of 7-limit diamond in
breed plane
diaconv2401.scl 17 convex closure of 7-limit diamond
with respect to 2401/2400
diamond_chess11.scl 17 11-limit chessboard pattern diamond. OdC
dow_low.scl 17 Lowest octave of Dowlands lute
tuning, strings 1,2,3. 1/1=G. (1610)
fj-17tet.scl 17 Franck Jedrzejewski continued
fractions approx. of 17-tet
iter10.scl 17 Iterated 5/2 Scale, IE=5/2, PD=4, SD=3
iter17.scl 17 Binary E Scale #2
iter26.scl 17 E Scale
iter4.scl 17 Iterated 5/2 Scale, IE=5/2, PD=4, SD=3
ji_17.scl 17 3 and 7 prime rational
interpretation of 17-tET. OdC
ji_17a.scl 17 3, 5 and 11 prime rational
interpretation of 17-tET, OdC
ji_17b.scl 17 Alt. 3, 5 and 11 prime rational
interpretation of 17-tET, OdC
majmin.scl 17 Malcolm & Marpurg 4 (Yamaha major &
minor) mixed. Mersenne/Ban without D#
marimba1.scl 17 Marimba of the Bakwese, SW Belgian
Congo (Zaire). 1/1=140.5 Hz
marimba2.scl 17 Marimba of the Bakubu, S. Belgian
Congo (Zaire). 1/1=141.5 Hz
mean17_17.scl 17 4/17-comma meantone scale with split
C#/Db, D#/Eb, F#/Gb, G#/Ab and A#/Bb
meanquar_17.scl 17 1/4-comma meantone scale with split
C#/Db, D#/Eb, F#/Gb, G#/Ab and A#/Bb
meanschis_17.scl 17 17-tone 1/8-schisma linear temperament
pepper.scl 17 Keenan Pepper's 17-tone jazz tuning,
TL 07-06-2000
persian-far.scl 17 Hormoz Farhat, average of observed
Persian tar and sehtar tunings (1966)
persian-vaz.scl 17 Vaziri's Persian tuning, using
quartertones
persian.scl 17 Persian Tar Scale, from Dariush
Anooshfar, Internet Tuning List 2/10/94
persian2.scl 17 Traditional Persian scale, from Mark
Rankin
phi_17.scl 17 Phi + 1 equal division by 17,
Brouncker (1653)
pipedum_17.scl 17 245/243, 64/63 and 525/512, Paul
Erlich, 2001
pipedum_171.scl 171 2401/2400, 4375/4374 and
32805/32768, Gene Ward Smith, 2002
pipedum_17a.scl 17 245/243, 525/512 and 1728/1715, Paul
Erlich, 2001
pipedum_17b.scl 17 245/243, 64/63 comma and 25/24 chroma
pipedum_17c.scl 17 1605632/1594323 and 177147/175616,
Manuel Op de Coul, 2002
pipedum_17d.scl 17 243/242, 99/98 and 64/63, Manuel Op
de Coul, 2002
pipedum_17e.scl 17 245/243, 1728/1715 and 32805/32768,
Manuel Op de Coul, 2003
pipedum_17f.scl 17 243/242 and 8192/8019, Manuel Op de Coul
pipedum_17g.scl 17 243/242, 896/891 and 99/98, Manuel
Op de Coul
pyth_17.scl 17 17-tone Pythagorean scale
pyth_17s.scl 17 Schismatically altered 17-tone
Pythagorean scale
rectsp6a.scl 17 Rectangle minimal beats spectrum of
order 6 union with inversion
reinhard17.scl 17 Reinhard's Harmonic-17 tuning for
"Tresspass", 1998
sauveur_17.scl 17 Sauveur's oriental system, aft.
Kitab al-adwar (Bagdad 1294) by Safi al-Din
schisynch17.scl 17 Schismatic[17] in synch (brat=-1) tuning
schulter_17.scl 17 Neo-Gothic well-temperament (14:11,
9:7 hypermeantone fifths) TL 04-09-2000
schulter_ham.scl 17 New rational tuning of "Hammond
organ type", TL 01-03-2002
schulter_jot17a.scl 17 Just octachord tuning -- 4:3-9:8-4:3
division, 17 steps (7 + 3 + 7), Bb-Bb
schulter_jot17bb.scl 17 "Just Octachord Tuning" (Bb-Eb,
F-Bb) -- 896:891 divided into 1792:1787:1782
schulter_jwt17.scl 17 "Just well-tuned 17" circulating system
secor17htt1.scl 17 George Secor's 17-tone
high-tolerance temperament subset #1 on C (5/4 & 7/4 exact)
secor17htt2.scl 17 George Secor's 17-tone
high-tolerance temperament subset #2 on Eo (5/4 & 7/4 exact)
secor17htt3.scl 17 George Secor's 17-tone
high-tolerance temperament subset #3 on G (5/4 & 7/4 exact)
secor17htt4.scl 17 George Secor's 17-tone
high-tolerance temperament subset #4 on Bo (5/4 & 7/4 exact)
secor17wt.scl 17 George Secor's well temperament with
5 pure 11/7 and 3 near just 11/6
senior.scl 171 Senior temperament, g=322.801387,
5-limit
super_17.scl 17 Superparticular 17-tone scale
temp17c10.scl 17 Cycle of 17 fifths tempered by 1/10
of "17-tET comma"
temp17c11.scl 17 Cycle of 17 fifths tempered by 1/11
of "17-tET comma"
temp17c12.scl 17 Cycle of 17 fifths tempered by 1/12
of "17-tET comma"
temp17c13.scl 17 Cycle of 17 fifths tempered by 1/13
of "17-tET comma"
temp17c14.scl 17 Cycle of 17 fifths tempered by 1/14
of "17-tET comma"
temp17c15.scl 17 Cycle of 17 fifths tempered by 1/15
of "17-tET comma"
temp17ebf.scl 17 Cycle of 17 equal beating fifths
temp17ebs.scl 17 Cycle of 17 equal beating sevenths
temp17fo2.scl 17 Fifth beats twice octave
temp17nt.scl 17 17-tone temperament with 27/22
neutral thirds
temp17s.scl 17 Cycle of 17 fifths tempered by 2
schismas. Schulter, Tuning List 10-9-98
triaphonic_17.scl 17 17-tone Triaphonic Cycle,
conjunctive form on 4/3, 7/6 and 9/7
turkish_bagl.scl 17 Ratios of the 17 frets on the neck
of "Baglama" ("saz") according to Yalçýn Tura
vries35-72.scl 17 Leo de Vries 35/72
Through-Transposing-Tonality 17 tone scale
wilson_17.scl 17 Wilson's 17-tone 5-limit scale
yarman17.scl 17 80-et commas 13-limit detempering of
a chain of 16 fifths

Shoot, I see it didn't format very prettily through Yahoo's interface.
Anyone interested in seeing a pretty version, let me know, I'll send
you the file.

-A.

--- In MakeMicroMusic@yahoogroups.com, "Aaron Krister Johnson"
<aaron@...> wrote:
>
> --- In MakeMicroMusic@yahoogroups.com, "Gene Ward Smith"
> <genewardsmith@> wrote:
> >
> > --- In MakeMicroMusic@yahoogroups.com, "Aaron Krister Johnson"
> > <aaron@> wrote:
> >
> > > Gene, you sure do have a lot of scales in the the Scala archive!
> >
> > Some of them have even been used to make music with. There's a way to
> > get Scala to only look at scales with n notes, but I can't recall what
> > it is. But that might be interesting as a way of exploring alternative
> > ways of tuning 17 notes.
>
> This is where being a Linux geek helps!
>
> I did this terminal command on Manuel's online 'scalesdir.txt' file:
>
> cat scalesdir.txt | grep '\.scl[\t ]*17 ' > 17_note_tunings.txt
>
> The above basically filters his file through a regular expression
> parser, and finds all the entries that have 17 notes by looking for
> 'somescalename.scl (whitespace) 17' for instance. I don't want to get
> into regex parsing, but it's a very valuable tool, I'll have you know!
>
> Here's the text of the resultant file, '17_note_tunings.txt', please
> excuse the line wrapping:
>
> 17-31.scl 17 17 out of 31, with split C#/Db,
> D#/Eb, F#/Gb, G#/Ab and A#/Bb
> 17-53.scl 17 17 out of 53-tET, Arabic Pythagorean
> scale
> arabic.scl 17 Arabic 17-tone Pythagorean mode,
> Safi al-Din
> arabic_s.scl 17 Schimatically altered Arabic 17-tone
> Pythagorean mode
> avicenna_17.scl 17 Tuning by Avicenna (Ibn Sina), Ahmed
> Mahmud Hifni, Cairo, 1977
> barlow_17.scl 17 11-limit rational 17-equal, Barlow,
> On the Quantification of Harmony and Metre
> bps_temp17.scl 17 Bohlen-Pierce-Stearn temperament.
> Highest 7-limit error 8.4 cents, 2001
> cet111a.scl 17 17th root of 3. McLaren 'Microtonal
> Music', volume 1, track 8
> cet141.scl 17 17th root of 4
> cet182.scl 17 17th root of 6, Moreno's C-17
> cet87.scl 17 Least-squares stretched ET to
> telephone dial tones. 1/1=697 Hz
> cet90.scl 17 Scale with limma steps
> chalmers_17.scl 17 7-limit figurative scale, Chalmers
> '96 Adnexed S&H decads
> cons18.scl 17 Set of intervals with num + den <=
> 18 not exceeding 2/1
> coul_17sup.scl 17 Superparticular approximation to
> Pythagorean 17-tone scale. Op de Coul, 2003
> diaclose.scl 17 Convex closure of 7-limit diamond in
> breed plane
> diaconv2401.scl 17 convex closure of 7-limit diamond
> with respect to 2401/2400
> diamond_chess11.scl 17 11-limit chessboard pattern
diamond. OdC
> dow_low.scl 17 Lowest octave of Dowlands lute
> tuning, strings 1,2,3. 1/1=G. (1610)
> fj-17tet.scl 17 Franck Jedrzejewski continued
> fractions approx. of 17-tet
> iter10.scl 17 Iterated 5/2 Scale, IE=5/2, PD=4,
SD=3
> iter17.scl 17 Binary E Scale #2
> iter26.scl 17 E Scale
> iter4.scl 17 Iterated 5/2 Scale, IE=5/2, PD=4,
SD=3
> ji_17.scl 17 3 and 7 prime rational
> interpretation of 17-tET. OdC
> ji_17a.scl 17 3, 5 and 11 prime rational
> interpretation of 17-tET, OdC
> ji_17b.scl 17 Alt. 3, 5 and 11 prime rational
> interpretation of 17-tET, OdC
> majmin.scl 17 Malcolm & Marpurg 4 (Yamaha major &
> minor) mixed. Mersenne/Ban without D#
> marimba1.scl 17 Marimba of the Bakwese, SW Belgian
> Congo (Zaire). 1/1=140.5 Hz
> marimba2.scl 17 Marimba of the Bakubu, S. Belgian
> Congo (Zaire). 1/1=141.5 Hz
> mean17_17.scl 17 4/17-comma meantone scale with split
> C#/Db, D#/Eb, F#/Gb, G#/Ab and A#/Bb
> meanquar_17.scl 17 1/4-comma meantone scale with split
> C#/Db, D#/Eb, F#/Gb, G#/Ab and A#/Bb
> meanschis_17.scl 17 17-tone 1/8-schisma linear temperament
> pepper.scl 17 Keenan Pepper's 17-tone jazz tuning,
> TL 07-06-2000
> persian-far.scl 17 Hormoz Farhat, average of observed
> Persian tar and sehtar tunings (1966)
> persian-vaz.scl 17 Vaziri's Persian tuning, using
> quartertones
> persian.scl 17 Persian Tar Scale, from Dariush
> Anooshfar, Internet Tuning List 2/10/94
> persian2.scl 17 Traditional Persian scale, from Mark
> Rankin
> phi_17.scl 17 Phi + 1 equal division by 17,
> Brouncker (1653)
> pipedum_17.scl 17 245/243, 64/63 and 525/512, Paul
> Erlich, 2001
> pipedum_171.scl 171 2401/2400, 4375/4374 and
> 32805/32768, Gene Ward Smith, 2002
> pipedum_17a.scl 17 245/243, 525/512 and 1728/1715, Paul
> Erlich, 2001
> pipedum_17b.scl 17 245/243, 64/63 comma and 25/24 chroma
> pipedum_17c.scl 17 1605632/1594323 and 177147/175616,
> Manuel Op de Coul, 2002
> pipedum_17d.scl 17 243/242, 99/98 and 64/63, Manuel Op
> de Coul, 2002
> pipedum_17e.scl 17 245/243, 1728/1715 and 32805/32768,
> Manuel Op de Coul, 2003
> pipedum_17f.scl 17 243/242 and 8192/8019, Manuel Op
de Coul
> pipedum_17g.scl 17 243/242, 896/891 and 99/98, Manuel
> Op de Coul
> pyth_17.scl 17 17-tone Pythagorean scale
> pyth_17s.scl 17 Schismatically altered 17-tone
> Pythagorean scale
> rectsp6a.scl 17 Rectangle minimal beats spectrum of
> order 6 union with inversion
> reinhard17.scl 17 Reinhard's Harmonic-17 tuning for
> "Tresspass", 1998
> sauveur_17.scl 17 Sauveur's oriental system, aft.
> Kitab al-adwar (Bagdad 1294) by Safi al-Din
> schisynch17.scl 17 Schismatic[17] in synch (brat=-1)
tuning
> schulter_17.scl 17 Neo-Gothic well-temperament (14:11,
> 9:7 hypermeantone fifths) TL 04-09-2000
> schulter_ham.scl 17 New rational tuning of "Hammond
> organ type", TL 01-03-2002
> schulter_jot17a.scl 17 Just octachord tuning -- 4:3-9:8-4:3
> division, 17 steps (7 + 3 + 7), Bb-Bb
> schulter_jot17bb.scl 17 "Just Octachord Tuning" (Bb-Eb,
> F-Bb) -- 896:891 divided into 1792:1787:1782
> schulter_jwt17.scl 17 "Just well-tuned 17" circulating
system
> secor17htt1.scl 17 George Secor's 17-tone
> high-tolerance temperament subset #1 on C (5/4 & 7/4 exact)
> secor17htt2.scl 17 George Secor's 17-tone
> high-tolerance temperament subset #2 on Eo (5/4 & 7/4 exact)
> secor17htt3.scl 17 George Secor's 17-tone
> high-tolerance temperament subset #3 on G (5/4 & 7/4 exact)
> secor17htt4.scl 17 George Secor's 17-tone
> high-tolerance temperament subset #4 on Bo (5/4 & 7/4 exact)
> secor17wt.scl 17 George Secor's well temperament with
> 5 pure 11/7 and 3 near just 11/6
> senior.scl 171 Senior temperament, g=322.801387,
> 5-limit
> super_17.scl 17 Superparticular 17-tone scale
> temp17c10.scl 17 Cycle of 17 fifths tempered by 1/10
> of "17-tET comma"
> temp17c11.scl 17 Cycle of 17 fifths tempered by 1/11
> of "17-tET comma"
> temp17c12.scl 17 Cycle of 17 fifths tempered by 1/12
> of "17-tET comma"
> temp17c13.scl 17 Cycle of 17 fifths tempered by 1/13
> of "17-tET comma"
> temp17c14.scl 17 Cycle of 17 fifths tempered by 1/14
> of "17-tET comma"
> temp17c15.scl 17 Cycle of 17 fifths tempered by 1/15
> of "17-tET comma"
> temp17ebf.scl 17 Cycle of 17 equal beating fifths
> temp17ebs.scl 17 Cycle of 17 equal beating sevenths
> temp17fo2.scl 17 Fifth beats twice octave
> temp17nt.scl 17 17-tone temperament with 27/22
> neutral thirds
> temp17s.scl 17 Cycle of 17 fifths tempered by 2
> schismas. Schulter, Tuning List 10-9-98
> triaphonic_17.scl 17 17-tone Triaphonic Cycle,
> conjunctive form on 4/3, 7/6 and 9/7
> turkish_bagl.scl 17 Ratios of the 17 frets on the neck
> of "Baglama" ("saz") according to Yalçýn Tura
> vries35-72.scl 17 Leo de Vries 35/72
> Through-Transposing-Tonality 17 tone scale
> wilson_17.scl 17 Wilson's 17-tone 5-limit scale
> yarman17.scl 17 80-et commas 13-limit detempering of
> a chain of 16 fifths
>

>Shoot, I see it didn't format very prettily through Yahoo's interface.
>Anyone interested in seeing a pretty version, let me know, I'll send
>you the file.
>
>-A.

Looks fine to me, except you exceeded (along with everyone
else in the World) the e-mail RFC for 76 chars per line max.
So some lines were hard wrapped by my mail server.

-Carl

--- In MakeMicroMusic@yahoogroups.com, "Aaron Krister Johnson"
<aaron@...> wrote:

> I did this terminal command on Manuel's online 'scalesdir.txt' file:
>
> cat scalesdir.txt | grep '\.scl[\t ]*17 ' > 17_note_tunings.txt

That's certainly one approach. I wonder how to do that on a BillBox?
I note, however, that two 171-et scales snuck in.

--- In MakeMicroMusic@yahoogroups.com, "Aaron Krister Johnson"
<aaron@...> wrote:
>
>
> Shoot, I see it didn't format very prettily through Yahoo's interface.
> Anyone interested in seeing a pretty version, let me know, I'll send
> you the file.
>
> -A.

Gosh, I can't believe I'm doing this twice in the same day: It'll look
a lot prettier if you follow these directions:

/tuning-math/message/15882

--George