Yahoo Tuning Groups Ultimate Backup makemicromusic 7-note per octave chord example

http://www.geocities.com/djtrancendance/binaural36.mp3

I would greatly appreciate it if you let me know what you think...

This is a song/loop sample/example of a major advancement for the "impossible consonant 7-note chord per octave binaural scale" I created and put on the tuning thread.

This new version sounds considerably more consonant (to my ears, at least) and has advanced to the point that it will work with virtually any instrument and not just sine waves or instruments with re-aligned overtones.

If you want to try composing with this scale, send me a personal e-mail and I will gladly send you a Scala file for the scale.

Enjoy!
-Michael

--- On Fri, 12/5/08, chrisvaisvil@...
<chrisvaisvil@gmail.com> wrote:
From: chrisvaisvil@... <chrisvaisvil@...>
Subject: Re: [MMM] More on Horogram Rhythms/added to Journal of AnaphorianMusic Theory
To: MakeMicroMusic@yahoogroups.com
Date: Friday, December 5, 2008, 2:06 PM

Kraig - my mind is trying to grasp this - are you talking about a method of organizing and rationalizing polyrythmic music? Or am I really lost here?

Thks

Chris

Sent via BlackBerry from T-Mobile

-----Original Message-----

From: Kraig Grady <kraiggrady@anaphori a.com>

Date: Sat, 06 Dec 2008 08:58:08

To: <MakeMicroMusic@ yahoogroups. com>

Subject: Re: [MMM] More on Horogram Rhythms/added to Journal of Anaphorian

Music Theory

Gendhing Canright is the first piece with bi-level patterns.

The advantage is in having patterns with more than two durations and

greater over-all flexibility.

actually no bars repeat but the first one even though a particulars

layer might.

more often the 108 would be subdivided

and an overall pattern would be augmented or diminished or retrograded.

It is a funny kind of counterpoint. Since nothing overlaps two or more

lines will merge into a single one. Kind of monophonic counterpoint.

I am working on a piece where one of these patterns is used to determine

return of themes/textures but the durations of these sections is

relatively free.

Kind of building a new piece on the ruins of an old.

Outside of that, i will wait to have enough new ideas before i play

with this more.

/^_,',',',_ //^ /Kraig Grady_ ^_,',',',_

Mesotonal Music from:

_'''''''_ ^North/Western Hemisphere:

North American Embassy of Anaphoria Island <http://anaphoria. com/>

_'''''''_ ^South/Eastern Hemisphere:

Austronesian Outpost of Anaphoria <http://anaphoriasou th.blogspot. com/>

',',',',',', ',',',',' ,',',',', ',',',',' ,',',',', ',',',',' ,

Carl Lumma wrote:

> Interesting, Kraig. Is Gending Canright the only piece you

> have done with this method? I thought you were using horogram

> rhythms before... -Carl

> At 05:28 AM 12/5/2008, you wrote:

> >at The Journal of Anaphorian Music Theory

> >http://anaphoria. com/journal. html <http://anaphoria. com/journal. html>

> >

> >More on Horogram Rhythms

> >http://anaphoria. com/Horo2. pdf <http://anaphoria. com/Horo2. pdf>

> >--

> >

[Non-text portions of this message have been removed]

🔗djtrancendance <djtrancendance@...>

🔗Chris Vaisvil <chrisvaisvil@...>

to be quite honest the scale in this context sounds "out of tune" microtonal
when I think you want to improve a traditional 7 notes scale harmony.
Perhaps I have this wrong?

I grant you I didn't try sounding all seven notes at the same time, but the
drones detract from what I think you are trying to do.

The beat is very good though.

On Fri, Dec 5, 2008 at 7:06 PM, djtrancendance <djtrancendance@...>wrote:

> http://www.geocities.com/djtrancendance/binaural36.mp3
>
> I would greatly appreciate it if you let me know what you think...
>
> This is a song/loop sample/example of a major advancement for the
> "impossible consonant 7-note chord per octave binaural scale" I
> created and put on the tuning thread.
>
> This new version sounds considerably more consonant (to my ears, at
> least) and has advanced to the point that it will work with virtually
> any instrument and not just sine waves or instruments with re-aligned
> overtones.
>
> If you want to try composing with this scale, send me a personal
> e-mail and I will gladly send you a Scala file for the scale.
>
> Enjoy!
> -Michael
>
>
>

[Non-text portions of this message have been removed]

🔗Michael Sheiman <djtrancendance@...>

To make it clear...it's not an attempt to improve traditional 7-note harmony, nor does it have anything to do with trying to match those tones or just intonation.
The idea is build a new scale and tuning system from scratch that makes fitting 7 unique notes (IE a 7 note chord) within a single octave (1/1 to 2/1 ratio) possible...........without sounding terribly dissonant (as it does when using scales under tradition 12 tone tuning).

It is very similar to the last example I did with sine waves in the Tuning group...and has the same goals...only this time around I am using real instruments and a slightly tweaked version of the tuning optimized to work better with real instrument.

Again, the link is
http://www.geocities.com/djtrancendance/binaural36.mp3

--- On Fri, 12/5/08, Chris Vaisvil <chrisvaisvil@...> wrote:

> From: Chris Vaisvil <chrisvaisvil@...>
> Subject: Re: [MMM] 7-note per octave chord example
> To: MakeMicroMusic@yahoogroups.com
> Date: Friday, December 5, 2008, 5:09 PM
> to be quite honest the scale in this context sounds
> "out of tune" microtonal
> when I think you want to improve a traditional 7 notes
> scale harmony.
> Perhaps I have this wrong?
>
> I grant you I didn't try sounding all seven notes at
> the same time, but the
> drones detract from what I think you are trying to do.
>
> The beat is very good though.
>
> On Fri, Dec 5, 2008 at 7:06 PM, djtrancendance
> <djtrancendance@...>wrote:
>
> >
> http://www.geocities.com/djtrancendance/binaural36.mp3
> >
> > I would greatly appreciate it if you let me know what
> you think...
> >
> > This is a song/loop sample/example of a major
> advancement for the
> > "impossible consonant 7-note chord per octave
> binaural scale" I
> > created and put on the tuning thread.
> >
> > This new version sounds considerably more consonant
> (to my ears, at
> > least) and has advanced to the point that it will work
> with virtually
> > any instrument and not just sine waves or instruments
> with re-aligned
> > overtones.
> >
> > If you want to try composing with this scale, send me
> a personal
> > e-mail and I will gladly send you a Scala file for the
> scale.
> >
> > Enjoy!
> > -Michael
> >
> >
> >
>
>
> [Non-text portions of this message have been removed]

🔗Michael Sheiman <djtrancendance@...>

For the sake of comparison, look at these compositional loop samples:

http://www.geocities.com/djtrancendance/binauralold.mp3
(several people liked this old version)

http://www.geocities.com/djtrancendance/binaural36.mp3
(the NEW version, which uses real instruments and, in my opinion, a better version of the scale)

************************************************************
Again, I am continuing along the same path (or at least trying),
this should seem at least somewhat familiar to those who heard the first version.
In addition to Chris, I am particularly interested to see what Carl, Kraig, and Caleb (those who in some way commented on the first version before) think of this vs. the first version as part of my on-going "dare" to create an "infinitely inversion-able" scale.

-Michael

--- On Fri, 12/5/08, Chris Vaisvil <chrisvaisvil@...> wrote:

🔗Carl Lumma <carl@...>

🔗Michael Sheiman <djtrancendance@...>

> I'd say I like it better than the first version. Has a
> nice flavor.
It's nice to know I am (at least) getting closer...thank you :-)

> I wouldn't say it proves any consonance properties of
> any scale
> though. To do that, you should make versions of it using
> the same
> instruments but tuned in other scales, e.g. the 7-note
> diatonic
> in 12-ET, the 7-note diatonic in 31-ET, 7 consecutive or
> nearly-
> consecutive members of a harmonic series, etc.

Hmm...actually it is built across 14 notes (two octaves of 7-note)...but I could do 2 octaves of 12TET diatonic, the 31TET approximation (of 7-tone JI, I am guessing?), and 14 notes of harmonic series within 2 octaves.
It's a great idea for "proof of concept"...I am definitely going to try it. Specifically, "beating" the harmonic series at a consonance test is likely to be quite a challenge.

-Michael

--- On Fri, 12/5/08, Carl Lumma <carl@...> wrote:

> From: Carl Lumma <carl@...>
> Subject: Re: [MMM] 7-note per octave chord example
> To: MakeMicroMusic@yahoogroups.com
> Date: Friday, December 5, 2008, 11:43 PM
> Michael wrote:
> > Again, I am continuing along the same path (or at
> least trying),
> >this should seem at least somewhat familiar to those
> who heard the
> >first version.
> > In addition to Chris, I am particularly interested to
> see what Carl,
> >Kraig, and Caleb (those who in some way commented on
> the first version
> >before) think of this vs. the first version as part of
> my on-going
> >"dare" to create an "infinitely
> inversion-able" scale.
>
> I'd say I like it better than the first version. Has a
> nice flavor.
> I wouldn't say it proves any consonance properties of
> any scale
> though. To do that, you should make versions of it using
> the same
> instruments but tuned in other scales, e.g. the 7-note
> diatonic
> in 12-ET, the 7-note diatonic in 31-ET, 7 consecutive or
> nearly-
> consecutive members of a harmonic series, etc.
>
> -Carl

🔗Carl Lumma <carl@...>

🔗Mike Battaglia <battaglia01@...>

🔗Carl Lumma <carl@...>

At 08:16 PM 12/6/2008, you wrote:
>On Sat, Dec 6, 2008 at 2:43 AM, Carl Lumma <carl@...> wrote:
>> I'd say I like it better than the first version. Has a nice flavor.
>> I wouldn't say it proves any consonance properties of any scale
>> though. To do that, you should make versions of it using the same
>> instruments but tuned in other scales, e.g. the 7-note diatonic
>> in 12-ET, the 7-note diatonic in 31-ET, 7 consecutive or nearly-
>> consecutive members of a harmonic series, etc.
>>
>> -Carl
>
>If you had a sawtooth wave in which the odd harmonics were only in the
>left ear and the even harmonics only in the right ear, would that be
>more concordant than a sawtooth wave played in mono? It seems like
>splitting a chord up over two channels would make it harder for the
>brain to perceive it as a unified pitch.

It's called the "central pitch processor theory" precisely because
it works even when stimuli are presented binaurally. See for
example
http://tinyurl.com/5dm6sd

In the scenario you're proposing, though, each ear is already getting
more than enough information to extract the pitch on its own.

-Carl