Yahoo Tuning Groups Ultimate Backup makemicromusic Polyphonic challenge!

The challenge is to write actual polyphonic xenharmonic music. Or contrapuntal xenharmonic music. Or even whatever kind of music people finally decided pianodactyl represents. To get the ball rolling, I present this:

Trio for SoftSaturn, NebulaSing and TromBonehead
http://www.archive.org/details/TrioForSoftsaturnNebulasingAndTrombonehead_297
http://tinyurl.com/4vhzuw4

I wrote this just before receiving a critique detailing things I could do better, whereupon I discovered I had done everything wrong. This has a hyperactive harmonic rhythm with no contrasts of motivic material or instrumentation, with the whole thing lasting seven minutes. In other words, it is typical for me except that I've pushed the Renaissance idea I often have in mind to the point of genuine neo-Renaissance xenharmonic music. But it is polyphonic, and that's the point of this challenge. I really want to hear what other people can do, whether you call it polyphony, counterpoint, or something else. Let there be texture!

🔗Chris Vaisvil <chrisvaisvil@...>

in Blue JI tuning
http://micro.soonlabel.com/blue-tuning/daily20101231-blue-ji-winds.mp3

in Orwell tuning
http://micro.soonlabel.com/orwell/daily20100721-gpo-owellian-cameras.mp3

here is a school exercise re-imagined in Carlos circular tuning
http://micro.soonlabel.com/Carlos-circular/a-parking-lot-thought-gpo-carlos-circular.mp3

here is a piece in a harmonic series tuning I made - piece is unfinished
http://micro.soonlabel.com/harmonic_series/daily20100827-harm-ver1.mp3

Tempted by 17 Virgins (17 ET)
http://notonlymusic.com/board/download/file.php?id=363
online play
http://notonlymusic.com/board/viewtopic.php?f=23&t=319&start=0&hilit=virgins

Bridgeport 2 (super particular tuning)
http://micro.soonlabel.com/super-particular/sequenced-classical-m-c-tuning3bridgeport2.mp3
online play http://chrisvaisvil.com/?p=125

On Mon, Feb 7, 2011 at 5:02 PM, genewardsmith
<genewardsmith@...>wrote:

>
>
> The challenge is to write actual polyphonic xenharmonic music. Or
> contrapuntal xenharmonic music. Or even whatever kind of music people
> finally decided pianodactyl represents. To get the ball rolling, I present
> this:
>
> Trio for SoftSaturn, NebulaSing and TromBonehead
>
> http://www.archive.org/details/TrioForSoftsaturnNebulasingAndTrombonehead_297
> http://tinyurl.com/4vhzuw4
>
> I wrote this just before receiving a critique detailing things I could do
> better, whereupon I discovered I had done everything wrong. This has a
> hyperactive harmonic rhythm with no contrasts of motivic material or
> instrumentation, with the whole thing lasting seven minutes. In other words,
> it is typical for me except that I've pushed the Renaissance idea I often
> have in mind to the point of genuine neo-Renaissance xenharmonic music. But
> it is polyphonic, and that's the point of this challenge. I really want to
> hear what other people can do, whether you call it polyphony, counterpoint,
> or something else. Let there be texture!
>
>
>

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

🔗Aaron Krister Johnson <aaron@...>

i don't know what counts as 'xenharmonic' per se, but a good deal of my
output is contrapuntal in nature: adagio for margo, puhlops and laugua,
juggler, andante doloroso, little canon, melancholic, tarantella (has a
fugato section, too), insect ballet....

i'm going to give your newest piece a listen now, gene.

AKJ

On Tue, Feb 8, 2011 at 8:36 AM, Chris Vaisvil <chrisvaisvil@...>wrote:

> in Blue JI tuning
> http://micro.soonlabel.com/blue-tuning/daily20101231-blue-ji-winds.mp3
>
> in Orwell tuning
> http://micro.soonlabel.com/orwell/daily20100721-gpo-owellian-cameras.mp3
>
> here is a school exercise re-imagined in Carlos circular tuning
>
> http://micro.soonlabel.com/Carlos-circular/a-parking-lot-thought-gpo-carlos-circular.mp3
>
> here is a piece in a harmonic series tuning I made - piece is unfinished
> http://micro.soonlabel.com/harmonic_series/daily20100827-harm-ver1.mp3
>
> Tempted by 17 Virgins (17 ET)
> http://notonlymusic.com/board/download/file.php?id=363
> online play
>
> http://notonlymusic.com/board/viewtopic.php?f=23&t=319&start=0&hilit=virgins
>
> Bridgeport 2 (super particular tuning)
>
> http://micro.soonlabel.com/super-particular/sequenced-classical-m-c-tuning3bridgeport2.mp3
> online play http://chrisvaisvil.com/?p=125
>
> On Mon, Feb 7, 2011 at 5:02 PM, genewardsmith
> <genewardsmith@...>wrote:
>
> >
> >
> > The challenge is to write actual polyphonic xenharmonic music. Or
> > contrapuntal xenharmonic music. Or even whatever kind of music people
> > finally decided pianodactyl represents. To get the ball rolling, I
> present
> > this:
> >
> > Trio for SoftSaturn, NebulaSing and TromBonehead
> >
> >
> http://www.archive.org/details/TrioForSoftsaturnNebulasingAndTrombonehead_297
> > http://tinyurl.com/4vhzuw4
> >
> > I wrote this just before receiving a critique detailing things I could do
> > better, whereupon I discovered I had done everything wrong. This has a
> > hyperactive harmonic rhythm with no contrasts of motivic material or
> > instrumentation, with the whole thing lasting seven minutes. In other
> words,
> > it is typical for me except that I've pushed the Renaissance idea I often
> > have in mind to the point of genuine neo-Renaissance xenharmonic music.
> But
> > it is polyphonic, and that's the point of this challenge. I really want
> to
> > hear what other people can do, whether you call it polyphony,
> counterpoint,
> > or something else. Let there be texture!
> >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

--
Aaron Krister Johnson
http://www.akjmusic.com
http://www.untwelve.org

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

🔗Aaron Krister Johnson <aaron@...>

gene,

(sorry if all lowercase is annoying--i'm trying it on for size for a while)

just listened now, twice. i think i like this piece better than pianodactyl,
too. for one, the panning really helps. the sounds are fairly decent, but
maybe the sax-like one is a bit loud in the mix. but @ about 1:30 in, i get
really weary for something. maybe i just have ADD, but it comes across to me
as a homogenous morass of complex weird counterpoint, needing less
autopilot and more 'intentional pilot'. enough has been said already at
earlier times, as you intimated, so i'll say little more, for you seem
rather strong willed about it :) --except to say that this is certainly in
the contrapuntal department, and is the very eidos of chromatic writing!

maybe seven 1-minute pieces of this kind of thing (a linked suite?) would be
more interesting for a 'philistine like me' than one 7-minute piece.
stravinsky often built large forms that way (e.g. 'jeux des cartes'). it can
help enforce contrast if one is intentional enough.

(notes from my second listen---if you can force yourself to listen
meditatively, there is an interesting sort of transcendent state you can get
in with such a monolithic piece. i think your average joe q. public listener
would change the dial immediately (many of us don't care about them, since
they switch off bach too), nerdy/geeky folk would listen for a couple of
minutes and then be driven nuts by the dissonance and out-thereness of the
temperament and the obsessive textural sameness, etc. whereas a zen master
would sit for the whole thing and smile. this is really zen master level
music, to be lived moment to moment.)

anyway, gene, i'm always interested in hearing what you come up with. you're
certainly one of the most formidable minds around here.

AKJ

On Mon, Feb 7, 2011 at 4:02 PM, genewardsmith
<genewardsmith@...>wrote:

> The challenge is to write actual polyphonic xenharmonic music. Or
> contrapuntal xenharmonic music. Or even whatever kind of music people
> finally decided pianodactyl represents. To get the ball rolling, I present
> this:
>
> Trio for SoftSaturn, NebulaSing and TromBonehead
>
> http://www.archive.org/details/TrioForSoftsaturnNebulasingAndTrombonehead_297
> http://tinyurl.com/4vhzuw4
>
> I wrote this just before receiving a critique detailing things I could do
> better, whereupon I discovered I had done everything wrong. This has a
> hyperactive harmonic rhythm with no contrasts of motivic material or
> instrumentation, with the whole thing lasting seven minutes. In other words,
> it is typical for me except that I've pushed the Renaissance idea I often
> have in mind to the point of genuine neo-Renaissance xenharmonic music. But
> it is polyphonic, and that's the point of this challenge. I really want to
> hear what other people can do, whether you call it polyphony, counterpoint,
> or something else. Let there be texture!
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

--
Aaron Krister Johnson
http://www.akjmusic.com
http://www.untwelve.org

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

🔗genewardsmith <genewardsmith@...>

🔗Chris Vaisvil <chrisvaisvil@...>

I certainly put a lot more work into something like Orwellian Cameras
(though the others I quoted had a lot of work too.)

Aaron - where is Juggler? Did I miss the link somewhere?

Chris

On Tue, Feb 8, 2011 at 4:44 PM, genewardsmith
<genewardsmith@...> wrote:
>
>
>
> --- In MakeMicroMusic@yahoogroups.com, Aaron Krister Johnson <aaron@...> wrote:
> >
> > i don't know what counts as 'xenharmonic' per se, but a good deal of my
> > output is contrapuntal in nature: adagio for margo, puhlops and laugua,
> > juggler, andante doloroso, little canon, melancholic, tarantella (has a
> > fugato section, too), insect ballet....
>
> When you write something like juggler, or Chris something like Orwellian Cameras, that's when I really sit up and take notice. Other people's milage may vary.
>

🔗Carl Lumma <carl@...>

Aaron wrote:

>(notes from my second listen---if you can force yourself to listen
>meditatively, there is an interesting sort of transcendent state you
>can get in with such a monolithic piece.

I've managed this a few times with Gene's stuff. For me it requires
an unholy mix of laser-like focus and indifferent calmness. Focus
to catch the microchromatic motion, and indifference to survive the
nonstop wall of sound. Some of the newer prog (which somehow got
mixed up with metal) like the Mars Volta or maybe Tool sometimes
approach this blend of values.

-Carl

🔗cameron <misterbobro@...>

Okay! Here's a little contrapuntal piece:

http://dl.kibla.org/dl.php?filename=1LittleFugueIn26_CBobro.wav

I accidentally uploaded the version that's 3-6 dB too quiet, you can just turn it up.

The theme and fugal schemes are from 1998, but I've revisited it periodically since then, until I found that it works best in 26-equal. Well, 26 8/7s, rotated to symmetry on 0, which functions like 26-equal but with a bit softer and more organic feel, I feel.

Theme stated in parallel octaves, then starts with simple 2-voice canon, but the bass comes in in stretto and inverted, etc. etc. and it gets more intricate from there. Ends with the theme again, against a second voice.

I'm a big fan of stretto.

-Cameron Bobro

--- In MakeMicroMusic@yahoogroups.com, "genewardsmith" <genewardsmith@...> wrote:
>
> The challenge is to write actual polyphonic xenharmonic music. Or contrapuntal xenharmonic music. Or even whatever kind of music people finally decided pianodactyl represents. To get the ball rolling, I present this:
>
> Trio for SoftSaturn, NebulaSing and TromBonehead
> http://www.archive.org/details/TrioForSoftsaturnNebulasingAndTrombonehead_297
> http://tinyurl.com/4vhzuw4
>
> I wrote this just before receiving a critique detailing things I could do better, whereupon I discovered I had done everything wrong. This has a hyperactive harmonic rhythm with no contrasts of motivic material or instrumentation, with the whole thing lasting seven minutes. In other words, it is typical for me except that I've pushed the Renaissance idea I often have in mind to the point of genuine neo-Renaissance xenharmonic music. But it is polyphonic, and that's the point of this challenge. I really want to hear what other people can do, whether you call it polyphony, counterpoint, or something else. Let there be texture!
>

🔗genewardsmith <genewardsmith@...>

--- In MakeMicroMusic@yahoogroups.com, "cameron" <misterbobro@...> wrote:
>
> Okay! Here's a little contrapuntal piece:
>
> http://dl.kibla.org/dl.php?filename=1LittleFugueIn26_CBobro.wav

Great! In case anyone would prefer something other than a wav file to download:

flac
http://www.mediafire.com/?eccqc9ooeheycf5

mp3
http://www.mediafire.com/?68ij3yi93censnz

> The theme and fugal schemes are from 1998, but I've revisited it periodically since then, until I found that it works best in 26-equal. Well, 26 8/7s, rotated to symmetry on 0, which functions like 26-equal but with a bit softer and more organic feel, I feel.

This sounds suspiciously like mothra, the 26&31 temperament, in a high-limit version.

> I'm a big fan of stretto.

Very nice! Thanks for posting this, Cameron.

🔗genewardsmith <genewardsmith@...>

🔗cameron <misterbobro@...>

Thanks, Gene- a polphonic challenge is a great idea!

I'm trying to think what temperaments could be implemented as modalities of both 26 and 31, and it seems that any qualifying would have to assume 8:7 as a "whole tone". 26 is a strange equal division, because it offers a meantone-like P5:M3 relationship (close to that of meantone in 19-equal), but can't offer a true meantone like 31 can, because there is no "mean" tone. Rather, there are near-perfect 10:9 and 8:7, and a gap between them.

This is no skin off my nose, as I think in tetrachords or "sets", even if I take advantage of the 4*P5(mod2)=M3 effect offered by 26. The near perfect 13:12 of 26 is ideal as a step-size for example, and I use a 26 with 13:12 as generator just as much as one with an 8:7 generator. This is even closer to 26-equal, almost identical.

What would be an example generator/period of "mothra" temperament?

-Cameron Bobro

--- In MakeMicroMusic@yahoogroups.com, "genewardsmith" <genewardsmith@...> wrote:
>
>
>
> --- In MakeMicroMusic@yahoogroups.com, "cameron" <misterbobro@> wrote:
> >
> > Okay! Here's a little contrapuntal piece:
> >
> > http://dl.kibla.org/dl.php?filename=1LittleFugueIn26_CBobro.wav
>
> Great! In case anyone would prefer something other than a wav file to download:
>
> flac
> http://www.mediafire.com/?eccqc9ooeheycf5
>
> mp3
> http://www.mediafire.com/?68ij3yi93censnz
>
> > The theme and fugal schemes are from 1998, but I've revisited it periodically since then, until I found that it works best in 26-equal. Well, 26 8/7s, rotated to symmetry on 0, which functions like 26-equal but with a bit softer and more organic feel, I feel.
>
> This sounds suspiciously like mothra, the 26&31 temperament, in a high-limit version.
>
> > I'm a big fan of stretto.
>
> Very nice! Thanks for posting this, Cameron.
>

🔗straub@...

--- In MakeMicroMusic@yahoogroups.com, "genewardsmith" <genewardsmith@...> wrote:
>
> The challenge is to write actual polyphonic xenharmonic music. Or
> contrapuntal xenharmonic music. Or even whatever kind of music
> people finally decided pianodactyl represents. To get the ball
> rolling, I present this:
>
> Trio for SoftSaturn, NebulaSing and TromBonehead
> http://www.archive.org/details/TrioForSoftsaturnNebulasingAndTrombonehead_297
> http://tinyurl.com/4vhzuw4
>
> I wrote this just before receiving a critique detailing things I
> could do better, whereupon I discovered I had done everything
> wrong. This has a hyperactive harmonic rhythm with no contrasts of > motivic material or instrumentation, with the whole thing lasting
> seven minutes. In other words, it is typical for me except that
> I've pushed the Renaissance idea I often have in mind to the point
> of genuine neo-Renaissance xenharmonic music. But it is polyphonic,
> and that's the point of this challenge.

Sounds not exactly polyphonic to me, more "homophonic". But I glimpse some really interesting xenharmonic twists. However, I have to say that the timbres suck...

> I really want to hear what
> other people can do, whether you call it polyphony, counterpoint,
> or something else. Let there be texture!
>

Here is something I have been doing. It is the beginning of a fugue in 17EDO. Partly using my personal 17edo counterpoint rules (using the system I shortly described in /makemicromusic/topicId_16475.html#16573), which are, however, still under construction. I didn't get very far yet (contrapuntal writing is hard, doubly so if you are inventing the rules on the fly...). Maybe not exactly xenharmonic (I keep falling into the habit of avoiding the weird-sounding intervals...), but polyphonic and contrapuntal for sure.

https://share.ols.inode.at/OGBUK5NNMW6JJRI4V8HDT9WDAXFS8F7VVHQFLD39
--
Hans Straub

🔗cameron <misterbobro@...>

Your link doesn't work for me. :-( Didn't realize you are in Austria- I'm just down the road from you, in Slovenia. We could hook up some time.

--- In MakeMicroMusic@yahoogroups.com, straub@... wrote:
>
>
>
> --- In MakeMicroMusic@yahoogroups.com, "genewardsmith" <genewardsmith@> wrote:
> >
> > The challenge is to write actual polyphonic xenharmonic music. Or
> > contrapuntal xenharmonic music. Or even whatever kind of music
> > people finally decided pianodactyl represents. To get the ball
> > rolling, I present this:
> >
> > Trio for SoftSaturn, NebulaSing and TromBonehead
> > http://www.archive.org/details/TrioForSoftsaturnNebulasingAndTrombonehead_297
> > http://tinyurl.com/4vhzuw4
> >
> > I wrote this just before receiving a critique detailing things I
> > could do better, whereupon I discovered I had done everything
> > wrong. This has a hyperactive harmonic rhythm with no contrasts of > motivic material or instrumentation, with the whole thing lasting
> > seven minutes. In other words, it is typical for me except that
> > I've pushed the Renaissance idea I often have in mind to the point
> > of genuine neo-Renaissance xenharmonic music. But it is polyphonic,
> > and that's the point of this challenge.
>
> Sounds not exactly polyphonic to me, more "homophonic". But I glimpse some really interesting xenharmonic twists. However, I have to say that the timbres suck...
>
> > I really want to hear what
> > other people can do, whether you call it polyphony, counterpoint,
> > or something else. Let there be texture!
> >
>
> Here is something I have been doing. It is the beginning of a fugue in 17EDO. Partly using my personal 17edo counterpoint rules (using the system I shortly described in /makemicromusic/topicId_16475.html#16573), which are, however, still under construction. I didn't get very far yet (contrapuntal writing is hard, doubly so if you are inventing the rules on the fly...). Maybe not exactly xenharmonic (I keep falling into the habit of avoiding the weird-sounding intervals...), but polyphonic and contrapuntal for sure.
>
> https://share.ols.inode.at/OGBUK5NNMW6JJRI4V8HDT9WDAXFS8F7VVHQFLD39
> --
> Hans Straub
>

🔗straub@...

--- In MakeMicroMusic@yahoogroups.com, "cameron" <misterbobro@...> wrote:
>
> Your link doesn't work for me. :-( Didn't realize you are in
> Austria- I'm just down the road from you, in Slovenia. We could hook
> up some time.
>

Actually, I am a little further west (Switzerland). But apparently my internet provider uses web space in Austria.

Yeah, I keep looking for microtonalist at my place. There are some in the contemporary classical scene (Edu Haubensak, most prominently), but then I'm not sure whether I am qualified in that field...

Strange that the link ddidn't work. How about this one:

http://homepage.hispeed.ch/hsstraub/musik/Fugue17edo_2010-01-24.mp3
--
Hans Straub

🔗genewardsmith <genewardsmith@...>

--- In MakeMicroMusic@yahoogroups.com, straub@... wrote:

> Sounds not exactly polyphonic to me, more "homophonic". But I glimpse some really interesting xenharmonic twists. However, I have to say that the timbres suck...

Sorry about those timbres. :) But I have to say, many people on this list see to have a peculiar notion of the meaning of the word "homophonic" as basically meaning "not homophonic". Pianodactyl was not homophonic, despite what some people seemed to think, but I can see why people didn't want to call it "polyphonic" if they had a different concept of what that meant. But not calling calling this trio "polyphonic" is just plain ridiculous. It removes all meaning from the word.

> Here is something I have been doing.

Comments in another posting after I fire up another browser.

🔗Carl Lumma <carl@...>

🔗genewardsmith <genewardsmith@...>

🔗Mark Stephens <musicoptimist@...>

Very nice Hans!

https://share.ols.inode.at/OGBUK5NNMW6JJRI4V8HDT9WDAXFS8F7VVHQFLD39
--

Mark Stephens
ProgPositivity - The Best Prog and Fusion - Positively!
http://www.progpositivity.com

________________________________
From: "straub@..." <straub@...>
To: MakeMicroMusic@yahoogroups.com
Sent: Fri, February 11, 2011 3:26:03 AM
Subject: [MMM] Re: Polyphonic challenge!

--- In MakeMicroMusic@...m, "genewardsmith" <genewardsmith@...>
wrote:
>
> The challenge is to write actual polyphonic xenharmonic music. Or
> contrapuntal xenharmonic music. Or even whatever kind of music
> people finally decided pianodactyl represents. To get the ball
> rolling, I present this:
>
> Trio for SoftSaturn, NebulaSing and TromBonehead
> http://www.archive.org/details/TrioForSoftsaturnNebulasingAndTrombonehead_297
> http://tinyurl.com/4vhzuw4
>
> I wrote this just before receiving a critique detailing things I
> could do better, whereupon I discovered I had done everything
> wrong. This has a hyperactive harmonic rhythm with no contrasts of > motivic
>material or instrumentation, with the whole thing lasting
>
> seven minutes. In other words, it is typical for me except that
> I've pushed the Renaissance idea I often have in mind to the point
> of genuine neo-Renaissance xenharmonic music. But it is polyphonic,
> and that's the point of this challenge.

Sounds not exactly polyphonic to me, more "homophonic". But I glimpse some
really interesting xenharmonic twists. However, I have to say that the timbres
suck...

> I really want to hear what
> other people can do, whether you call it polyphony, counterpoint,
> or something else. Let there be texture!
>

Here is something I have been doing. It is the beginning of a fugue in 17EDO.
Partly using my personal 17edo counterpoint rules (using the system I shortly
described in /makemicromusic/topicId_16475.html#16573),
which are, however, still under construction. I didn't get very far yet
(contrapuntal writing is hard, doubly so if you are inventing the rules on the
fly...). Maybe not exactly xenharmonic (I keep falling into the habit of
avoiding the weird-sounding intervals...), but polyphonic and contrapuntal for
sure.

https://share.ols.inode.at/OGBUK5NNMW6JJRI4V8HDT9WDAXFS8F7VVHQFLD39
--
Hans Straub

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

🔗straub@...

--- In MakeMicroMusic@yahoogroups.com, "genewardsmith" <genewardsmith@...> wrote:
>
>
>
> --- In MakeMicroMusic@yahoogroups.com, straub@ wrote:
>
> > http://homepage.hispeed.ch/hsstraub/musik/Fugue17edo_2010-01-24.mp3
>
> Thanks for posting this, Hans. I wonder what you could do with a less
> angular theme in a tuning with a little 5 and 7 in it, such as 31?
>

Thanks for the feedback. Hmm, I have no experience in 31EDO, neither do I have plans (this might change). But the probablity is rather high I will do something with counterpoint in 22edo.

BTW, do you guys look for counterpoint rules, make up new microtonal rules perhaps?
--
Hans Straub

🔗straub@...

🔗Chris Vaisvil <chrisvaisvil@...>

I certainly look to practice in 12 equal to inform what I'm doing in a
contrapuntal microtonal environment. In general what I listen to is
the "tendency" of the note, that is my mind's ear hears where the next
note should be. This is directly out of the idea that each "voice" in
a contrapuntal piece has its own "standalone" melody and I apply
species counter point when my mind gives me a not that would work
against establishing polyphony. Since I work microtonally in a 12 tet
score writing system the task becomes one of finding which 12 tet note
equals which microtonal note I wish to produce. Sibelius is suppose to
support 24 edo directly now (haven't tried it), so is Finale and there
is a Turkish program specializing in 24 edo - can't remember the name
and last but not least Tonescape http://tonalsoft.com/tonescape.aspx

http://en.wikibooks.org/wiki/Music_Theory/Counterpoint/Species_Counterpoint/In_Two_Voices

http://humanities.uchicago.edu/classes/zbikowski/species.html

I really like your piece a lot - it has the quality of a great energy
controlled.

Chris

On Sun, Feb 13, 2011 at 6:15 AM, <straub@...> wrote:
>

>
> Thanks for the feedback. Hmm, I have no experience in 31EDO, neither do I have plans (this might change). But the probablity is rather high I will do something with counterpoint in 22edo.
>
> BTW, do you guys look for counterpoint rules, make up new microtonal rules perhaps?
> --
> Hans Straub
>