Yahoo Tuning Groups Ultimate Backup makemicromusic Orwell pentatonic

I was just noodling with the standard C-D-E-G-A pentatonic
using my 12 note Orwell mapping. This is what I came up
with:

http://x31eq.com/music/penta.mp3

Because it's a 12 note mapping I could also record it in
equal temperament:

http://x31eq.com/music/penta12.mp3

The strange thing is that the Orwell tuning doesn't sound
strange in comparison. Perhaps this is because I've
brainwashed myself by playing it for so long that I've got
used to it, so make up your own mind. If I play the Orwell
one first, some notes in equal temperament even sound out of
tune. Orwell always has that authentic folk feel.

Graham

🔗Mike Battaglia <battaglia01@...>

On Wed, Dec 8, 2010 at 1:28 PM, Graham Breed <gbreed@...> wrote:
>
> I was just noodling with the standard C-D-E-G-A pentatonic
> using my 12 note Orwell mapping. This is what I came up
> with:
>
> http://x31eq.com/music/penta.mp3
>
> Because it's a 12 note mapping I could also record it in
> equal temperament:
>
> http://x31eq.com/music/penta12.mp3

I think there's been a mistake - this one is also tuned in Orwell.

> The strange thing is that the Orwell tuning doesn't sound
> strange in comparison. Perhaps this is because I've
> brainwashed myself by playing it for so long that I've got
> used to it, so make up your own mind. If I play the Orwell
> one first, some notes in equal temperament even sound out of
> tune. Orwell always has that authentic folk feel.

I really liked this example. Orwell was a tuning I had resigned a long
time ago to being some kind of Stravinskian, infinitesimally tonal,
extremely dissonant tuning, but it sounds really natural here.

I agree that it sounds very natural - sometimes random scales will
sound that way for no reason that I can tell. Perhaps there's another
scale property that determines the comprehensibility of a scale that
I'm unaware of.

How exactly do you have it tuned? Sounds like 1/1 ?? 9/7 3/2 12/7, but
I can't figure out the D.

-Mike

🔗Graham Breed <gbreed@...>

Mike Battaglia <battaglia01@...> wrote:
> On Wed, Dec 8, 2010 at 1:28 PM, Graham Breed
> <gbreed@...> wrote:

> > http://x31eq.com/music/penta.mp3
> >
> > Because it's a 12 note mapping I could also record it in
> > equal temperament:
> >
> > http://x31eq.com/music/penta12.mp3
>
> I think there's been a mistake - this one is also tuned
> in Orwell.

Erm, is it? It must be a different rotation, anyway.

> I really liked this example. Orwell was a tuning I had
> resigned a long time ago to being some kind of
> Stravinskian, infinitesimally tonal, extremely dissonant
> tuning, but it sounds really natural here.

Orwell's minimally dissonant, but in a different way to
equal temperament. Instead of poorly tuned 5-limit chords
everywhere you get a random selection of 11-limit harmony.

> I agree that it sounds very natural - sometimes random
> scales will sound that way for no reason that I can tell.
> Perhaps there's another scale property that determines
> the comprehensibility of a scale that I'm unaware of.
>
> How exactly do you have it tuned? Sounds like 1/1 ?? 9/7
> 3/2 12/7, but I can't figure out the D.

It's roughly 1/1 12/11 5/4 (really!) 3/2 12/7. The pure
major triad will help with comprehensibility. Note that
there's a rough 9:7 between 12/11 and 12/7, because of the
Orwell approximations. And that's not a coincidence
because it's why I chose C to start with.

Here's the keyboard tuning again:

! orwell12_rms.scl
!
12 note Orwell scale, TOP-RMS tuning
12
114.353
157.210
271.563
385.916
! note from Orwell13 omitted 428.773
543.126
657.479
700.335
814.689
929.042
971.898
1086.251
1200.604

E-F-G-B-C-E also makes a good Javanese pentatonic to my
ears.

Graham

🔗genewardsmith <genewardsmith@...>

--- In MakeMicroMusic@yahoogroups.com, Mike Battaglia <battaglia01@...> wrote:

> I really liked this example. Orwell was a tuning I had resigned a long
> time ago to being some kind of Stravinskian, infinitesimally tonal,
> extremely dissonant tuning, but it sounds really natural here.

What in the world gave you that idea? We have 7/6 with a complexity of 1 (and that's pretty low), 11/8 with a complexity of 2, and 5/4 with complexity of 3. Then 11/5 and 11/6 have complexity 5, 9/7 and 11/7 complexity 6, 3/2 complexity 7, 7/4 complexity 8. Is the problem that the 11 is not tuned well enough, or just the fact that it's 11? You can ignore 11-limit harmonies and still get all the 7-limit stuff, which hardly qualifies as Stravinskian extreme dissonance.

🔗Mike Battaglia <battaglia01@...>

On Wed, Dec 8, 2010 at 2:27 PM, genewardsmith
<genewardsmith@...> wrote:
>
> --- In MakeMicroMusic@yahoogroups.com, Mike Battaglia <battaglia01@...> wrote:
>
> > I really liked this example. Orwell was a tuning I had resigned a long
> > time ago to being some kind of Stravinskian, infinitesimally tonal,
> > extremely dissonant tuning, but it sounds really natural here.
>
> What in the world gave you that idea? We have 7/6 with a complexity of 1 (and that's pretty low), 11/8 with a complexity of 2, and 5/4 with complexity of 3. Then 11/5 and 11/6 have complexity 5, 9/7 and 11/7 complexity 6, 3/2 complexity 7, 7/4 complexity 8. Is the problem that the 11 is not tuned well enough, or just the fact that it's 11? You can ignore 11-limit harmonies and still get all the 7-limit stuff, which hardly qualifies as Stravinskian extreme dissonance.

No, it's that I didn't realize how to perform scale analysis correctly
when I messed around with it ages ago, and had tabled it ever since. I
used to just plug the 7/6 generator in there and fire away with the
generators cascading upwards. So I'd basically just get 7/6 on top of
7/6 on top of 7/6 until I finally hit 3/1. I started messing around
with it, and the whole thing sounded pretty sinister, and I thought it
would be appropriate if I ever decided to write a composition about
the impending apocalypse, or a zombie uprising, or maybe a stock
market crash, or something comparable.

The idea to send the generators downward never occurred to me at the
time, so I never figured out that 8:10:11 was involved. I also wrote
off porcupine once upon a time for the same reason (I had only messed
with the ssssssL mode). This was a couple years ago, and now I really
like porcupine, but had never messed with orwell again.

There's also that 3/2 and 7/4 are of relatively high complexity, which
means they don't get involved too much for "diatonic" stuff. Orwell[9]
has one 7/4.

-Mike

🔗genewardsmith <genewardsmith@...>

--- In MakeMicroMusic@yahoogroups.com, Mike Battaglia <battaglia01@...> wrote:

> There's also that 3/2 and 7/4 are of relatively high complexity, which
> means they don't get involved too much for "diatonic" stuff. Orwell[9]
> has one 7/4.

Of course, it's Orwell[12] Graham has been discussing. Orwell[9] is easily enough harmonized in two-part harmony, by the way, but Orwell[12] has more harmonic scope, if you don't object to it not being a MOS like Orwell[13].

🔗Kraig Grady <kraiggrady@...>

The other day i noticed that Orwell is the same as this
http://anaphoria.com/meruthree.PDF
page 18 except generated by the inversion.

/^_,',',',_ //^/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://anaphoriasouth.blogspot.com/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

On 9/12/10 5:28 AM, Graham Breed wrote:
>
> I was just noodling with the standard C-D-E-G-A pentatonic
> using my 12 note Orwell mapping. This is what I came up
> with:
>
> http://x31eq.com/music/penta.mp3
>
> Because it's a 12 note mapping I could also record it in
> equal temperament:
>
> http://x31eq.com/music/penta12.mp3
>
> The strange thing is that the Orwell tuning doesn't sound
> strange in comparison. Perhaps this is because I've
> brainwashed myself by playing it for so long that I've got
> used to it, so make up your own mind. If I play the Orwell
> one first, some notes in equal temperament even sound out of
> tune. Orwell always has that authentic folk feel.
>
> Graham
>
>

🔗genewardsmith <genewardsmith@...>

🔗Kraig Grady <kraiggrady@...>

on the page i give, page 18

/^_,',',',_ //^/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://anaphoriasouth.blogspot.com/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

On 9/12/10 10:21 AM, genewardsmith wrote:
>
>
>
> --- In MakeMicroMusic@yahoogroups.com > <mailto:MakeMicroMusic%40yahoogroups.com>, Kraig Grady > <kraiggrady@...> wrote:
> >
> > The other day i noticed that Orwell is the same as this
> > http://anaphoria.com/meruthree.PDF
> > page 18 except generated by the inversion.
>
> Which recurrence did you mean? Dudon lists some generators > called "Sabra" for Orwell but none of them seem very simple.
>
>

🔗genewardsmith <genewardsmith@...>

🔗Chris Vaisvil <chrisvaisvil@...>

Hi Graham,

I thought they sounded really close too. So what I did was load up both
files into audacity and panned the 12 version hard right and the Orwell
version hard left. Nice tune by the way - I thought it was from Saigon.

download
http://notonlymusic.com/board/download/file.php?id=1875

online play
http://notonlymusic.com/board/viewtopic.php?f=23&t=724&p=4231#p4231

Chris

On Wed, Dec 8, 2010 at 1:28 PM, Graham Breed <gbreed@gmail.com> wrote:

>
>
> I was just noodling with the standard C-D-E-G-A pentatonic
> using my 12 note Orwell mapping. This is what I came up
> with:
>
> http://x31eq.com/music/penta.mp3
>
> Because it's a 12 note mapping I could also record it in
> equal temperament:
>
> http://x31eq.com/music/penta12.mp3
>
> The strange thing is that the Orwell tuning doesn't sound
> strange in comparison. Perhaps this is because I've
> brainwashed myself by playing it for so long that I've got
> used to it, so make up your own mind. If I play the Orwell
> one first, some notes in equal temperament even sound out of
> tune. Orwell always has that authentic folk feel.
>
> Graham
>
>

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

🔗Kraig Grady <kraiggrady@...>

?
there is only one recurrent sequence on page 18

/^_,',',',_ //^/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://anaphoriasouth.blogspot.com/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

On 9/12/10 11:16 AM, genewardsmith wrote:
>
>
>
> --- In MakeMicroMusic@yahoogroups.com > <mailto:MakeMicroMusic%40yahoogroups.com>, Kraig Grady > <kraiggrady@...> wrote:
> >
> > on the page i give, page 18
>
> There where zillions of recurrences on page 18. In any case, > why not just tell us without referring to a pdf file which is > not very easy to read?
>
>

🔗genewardsmith <genewardsmith@...>

--- In MakeMicroMusic@yahoogroups.com, "genewardsmith" <genewardsmith@...> wrote:
>
>
>
> --- In MakeMicroMusic@yahoogroups.com, Kraig Grady <kraiggrady@> wrote:
> >
> > ?
> > there is only one recurrent sequence on page 18
>
> Not to my eyes.

I found it; it seems when I thought I was scrolling down a page, I was flipping through pages. The characteristic polynomial in question is x^10-2x^7-128. Dudon doesn't mention it, so I think I will bring it up on the main list.

🔗Graham Breed <gbreed@...>

Mike Battaglia <battaglia01@...> wrote:
> On Wed, Dec 8, 2010 at 1:28 PM, Graham Breed
> <gbreed@...> wrote:

> > http://x31eq.com/music/penta12.mp3
>
> I think there's been a mistake - this one is also tuned
> in Orwell.

There was a mistake! I recorded it again with the right
box unchecked, so it's in equal temperament now. Boring
but in tune.

Graham

🔗Mike Battaglia <battaglia01@...>

On Wed, Dec 8, 2010 at 1:57 PM, Graham Breed <gbreed@...> wrote:
>
> > How exactly do you have it tuned? Sounds like 1/1 ?? 9/7
> > 3/2 12/7, but I can't figure out the D.
>
> It's roughly 1/1 12/11 5/4 (really!) 3/2 12/7. The pure
> major triad will help with comprehensibility.

Out of curiosity, is the 5/4 here tuned flat? After listening to the
12-tet version, the 5/4 sounds much flatter than the 14 cents I'd
expect.

-Mike

🔗Graham Breed <gbreed@...>

Mike Battaglia <battaglia01@...> wrote:
> On Wed, Dec 8, 2010 at 1:57 PM, Graham Breed
> <gbreed@...> wrote:
> >
> > > How exactly do you have it tuned? Sounds like 1/1 ??
> > > 9/7 3/2 12/7, but I can't figure out the D.
> >
> > It's roughly 1/1 12/11 5/4 (really!) 3/2 12/7. The pure
> > major triad will help with comprehensibility.
>
> Out of curiosity, is the 5/4 here tuned flat? After
> listening to the 12-tet version, the 5/4 sounds much
> flatter than the 14 cents I'd expect.

It's 14 cents flat, which is ever-so slightly more than JI
would be. I'm not aware of it being tuned wrongly. I'm
using ZynAddSubFX with the Scala file I posted up-thread
and a keyboard mapping to force the first note to be C.
(The supposedly 12-tet version I posted initially had that
mapping disabled, instead of all microtuning disabled, as
you noticed.)

Graham

🔗Kraig Grady <kraiggrady@...>

Nice tune I forgot to say~!

a 5/4 (like) means something different than we expect a third to mean. So you use it when you want what it does.

/^_,',',',_ //^/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://anaphoriasouth.blogspot.com/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

On 9/12/10 6:52 PM, Mike Battaglia wrote:
>
> On Wed, Dec 8, 2010 at 1:57 PM, Graham Breed <gbreed@... > <mailto:gbreed%40gmail.com>> wrote:
> >
> > > How exactly do you have it tuned? Sounds like 1/1 ?? 9/7
> > > 3/2 12/7, but I can't figure out the D.
> >
> > It's roughly 1/1 12/11 5/4 (really!) 3/2 12/7. The pure
> > major triad will help with comprehensibility.
>
> Out of curiosity, is the 5/4 here tuned flat? After listening > to the
> 12-tet version, the 5/4 sounds much flatter than the 14 cents I'd
> expect.
>
> -Mike
>
>

🔗Graham Breed <gbreed@...>

Kraig Grady <kraiggrady@...> wrote:
> The other day i noticed that Orwell is the same as this
> http://anaphoria.com/meruthree.PDF
> page 18 except generated by the inversion.

It looks clear to me. The zig-zag pattern shows Orwell
generators, octave complements as you state. 84-65=19 so
19/84 is there. This is a recurrent sequence for Orwell.
It's also the earliest reference I know for something like
Orwell (no 11-limit mapping to nail it as a temperament).

Graham

🔗Graham Breed <gbreed@...>

Chris Vaisvil <chrisvaisvil@...> wrote:
> Hi Graham,
>
> I thought they sounded really close too. So what I did
> was load up both files into audacity and panned the 12
> version hard right and the Orwell version hard left. Nice
> tune by the way - I thought it was from Saigon.

See what happens with the true 12 version!

It sounds like a real folk tune. If it is a real folk
tune, I've forgotten where I heard it. See if you can
identify it.

Graham

🔗Kraig Grady <kraiggrady@...>

Hi Graham~
Does yours stop at 84 though?
or do you keep going

I am getting confused trying to think of two different size intervals as generators cause the proportional is spelled that way in this one i have to flip it around
does
O. 35. 63.
0r
35. 63. 0. sound good or the inversion.

70. 49. 0.
49.70. 0.

or both-curious

/^_,',',',_ //^/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://anaphoriasouth.blogspot.com/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

On 9/12/10 7:55 PM, Graham Breed wrote:
>
> Kraig Grady <kraiggrady@... > <mailto:kraiggrady%40anaphoria.com>> wrote:
> > The other day i noticed that Orwell is the same as this
> > http://anaphoria.com/meruthree.PDF
> > page 18 except generated by the inversion.
>
> It looks clear to me. The zig-zag pattern shows Orwell
> generators, octave complements as you state. 84-65=19 so
> 19/84 is there. This is a recurrent sequence for Orwell.
> It's also the earliest reference I know for something like
> Orwell (no 11-limit mapping to nail it as a temperament).
>
> Graham
>
>

🔗Graham Breed <gbreed@...>

"genewardsmith" <genewardsmith@...> wrote:

> Of course, it's Orwell[12] Graham has been discussing.
> Orwell[9] is easily enough harmonized in two-part
> harmony, by the way, but Orwell[12] has more harmonic
> scope, if you don't object to it not being a MOS like
> Orwell[13].

Only one interval in Orwell[9] is outside the 11-limit: the
semitone of 16:15 or 15:14. It could be a very rough
approximation to 14:13, which would make it 13-limit.

As one step of 9-equal is already 17 cents flat of 12:11,
it's hardly surprising that a 9 note scale fails to be
11-limit saturated. Orwell[9] is as good as it gets.

The only other interval in Orwell[13] that lies outside the
11-limit is the quartertone residue from the 9 note scale
not being equally tempered. This approximates 33:32 or
36:35. Other new intervals are 6:5, 7:5, and 9:11.

I object to the 12 note scale not being an MOS, or having
similar properties, but I object more to the octave not
being a repeating pattern on my keyboard. I'd be happier
with an extra black note between E and F. I'd be even
happier still with a generalized 4&5 keyboard.

The 12 note keyboard mapping contains two 9 note MOS
scales: C-C#-Eb-E-F-F#-Ab-A-B-C and
C-D-Eb-E-F-F#-Ab-A-B-C. There's also
C-C#-Eb-E-F-G-G#-Bb-B-C which has two step sizes and makes
a nice pattern on the keyboard, but isn't an MOS.

Graham

🔗Kraig Grady <kraiggrady@...>

It seems pretty clear Erv is not witnessing anything to do with 11s here. It is unfortunate it is one of the few in this set he doesn't also provide a seed.
At some point i will try and see what happens if ones throw in some 11s.

this one is easiest the longest chain he made in this set or anywhere so i guess he knew before hand exactly what he was going for.
i haven't ever tuned this one up. Looks like one can get some 9 and 13 note (22 and 31 too) scales too.
EW seems to point out the 358 which is more what i expect for Gene:)

/^_,',',',_ //^/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://anaphoriasouth.blogspot.com/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

🔗Graham Breed <gbreed@...>

Kraig Grady <kraiggrady@...> wrote:
> Hi Graham~
> Does yours stop at 84 though?
> or do you keep going

One generator/period ratio is 0.226188, giving 0.773812
with the octave. The zig-zag for that would diverge from
Erv's after 84, because it lies between 24/31 and 65/84
instead of 41/53 and 65/84. I can't see anybody using more
than 84 notes from Orwell. This recurrent sequence looks
like a good meta-Orwell. (I haven't worked out what chord
it equalizes the beats of. Is it the 2:3:5 from the PDF?)

> I am getting confused trying to think of two different
> size intervals as generators cause the proportional is
> spelled that way in this one i have to flip it around
> does
> O. 35. 63.
> 0r
> 35. 63. 0. sound good or the inversion.
>
> 70. 49. 0.
> 49.70. 0.
>
> or both-curious

I don't know, what does this mean? As it's a true linear
temperament (the period is the octave) you can always
unstretch it to get pure octaves, construct a scale, and
then re-stretch it. There's no need for impure octaves to
complicate the scale construction.

Graham

🔗Kraig Grady <kraiggrady@...>

There has been quite a few scales where a keyboard with one extra note would have meant all the difference.
Looking at the continuum of MOS scales, there are more 13 than 12 or at least more varied ones.

/^_,',',',_ //^/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://anaphoriasouth.blogspot.com/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

On 9/12/10 8:42 PM, Graham Breed wrote:
>
> "genewardsmith" <genewardsmith@... > <mailto:genewardsmith%40sbcglobal.net>> wrote:
>
> > Of course, it's Orwell[12] Graham has been discussing.
> > Orwell[9] is easily enough harmonized in two-part
> > harmony, by the way, but Orwell[12] has more harmonic
> > scope, if you don't object to it not being a MOS like
> > Orwell[13].
>
> Only one interval in Orwell[9] is outside the 11-limit: the
> semitone of 16:15 or 15:14. It could be a very rough
> approximation to 14:13, which would make it 13-limit.
>
> As one step of 9-equal is already 17 cents flat of 12:11,
> it's hardly surprising that a 9 note scale fails to be
> 11-limit saturated. Orwell[9] is as good as it gets.
>
> The only other interval in Orwell[13] that lies outside the
> 11-limit is the quartertone residue from the 9 note scale
> not being equally tempered. This approximates 33:32 or
> 36:35. Other new intervals are 6:5, 7:5, and 9:11.
>
> I object to the 12 note scale not being an MOS, or having
> similar properties, but I object more to the octave not
> being a repeating pattern on my keyboard. I'd be happier
> with an extra black note between E and F. I'd be even
> happier still with a generalized 4&5 keyboard.
>
> The 12 note keyboard mapping contains two 9 note MOS
> scales: C-C#-Eb-E-F-F#-Ab-A-B-C and
> C-D-Eb-E-F-F#-Ab-A-B-C. There's also
> C-C#-Eb-E-F-G-G#-Bb-B-C which has two step sizes and makes
> a nice pattern on the keyboard, but isn't an MOS.
>
> Graham
>
>

🔗Kraig Grady <kraiggrady@...>

the numbers are scales steps of 84 starting with 0 instead of 1. Sorry that wasn't clear.

it is always funny how close so many tunings get and then diverge by minute amounts but then we see how it diverges.
84 is allot!

the exciting thing though i think is that often what really makes a good tuning is its ability to be thought of in many different ways.
12 et was able to resurrect itself from the ashes more than once because of this i assume

/^_,',',',_ //^/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://anaphoriasouth.blogspot.com/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

On 9/12/10 8:57 PM, Graham Breed wrote:
>
> Kraig Grady <kraiggrady@... > <mailto:kraiggrady%40anaphoria.com>> wrote:
> > Hi Graham~
> > Does yours stop at 84 though?
> > or do you keep going
>
> One generator/period ratio is 0.226188, giving 0.773812
> with the octave. The zig-zag for that would diverge from
> Erv's after 84, because it lies between 24/31 and 65/84
> instead of 41/53 and 65/84. I can't see anybody using more
> than 84 notes from Orwell. This recurrent sequence looks
> like a good meta-Orwell. (I haven't worked out what chord
> it equalizes the beats of. Is it the 2:3:5 from the PDF?)
>
> > I am getting confused trying to think of two different
> > size intervals as generators cause the proportional is
> > spelled that way in this one i have to flip it around
> > does
> > O. 35. 63.
> > 0r
> > 35. 63. 0. sound good or the inversion.
> >
> > 70. 49. 0.
> > 49.70. 0.
> >
> > or both-curious
>
> I don't know, what does this mean? As it's a true linear
> temperament (the period is the octave) you can always
> unstretch it to get pure octaves, construct a scale, and
> then re-stretch it. There's no need for impure octaves to
> complicate the scale construction.
>
> Graham
>
>

🔗genewardsmith <genewardsmith@...>

🔗Kraig Grady <kraiggrady@...>

you are correct about that , and i think it effected how the music developed and sounded.
Without this "history" i wonder if 12 ET would have gotten to these type of expressions.

/^_,',',',_ //^/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://anaphoriasouth.blogspot.com/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

On 10/12/10 8:50 AM, genewardsmith wrote:
>
>
>
> --- In MakeMicroMusic@yahoogroups.com > <mailto:MakeMicroMusic%40yahoogroups.com>, Kraig Grady > <kraiggrady@...> wrote:
> >
> > Nice tune I forgot to say~!
> >
> > a 5/4 (like) means something different than we expect a > third to
> > mean. So you use it when you want what it does.
>
> And yet, 1/4-comma meantone was quite popular for a couple of > centuries.
>
>