Re: [tuning] Re: CPS on a standard keyboard

Kraig---

I discovered an old McLaren post, and found 2 examples of a 12-tone CPS. I'm
sure there are more----

Below is the quote from the post:

#####################
" Another collapsed Wilson CPS formed by a set of generators most of which are
multiples of one another--in this case, 4 out of 8 from [1,2,3,4,5,6,7,8]:
0: 1/1 000.0000
1: 35/32 155.1396
2: 9/8 203.9100
3: 315/256 359.0498
4: 5/4 386.3139
5: 21/16 470.7811
6: 45/32 590.2239
7: 3/2 701.9553
8: 105/64 857.0950
9: 7/4 968.8264
10: 15/8 1088.269
11: 63/32 1172.736

For a change of pace, here's an oddball Wilson 4 out of 8--but NOT a
hebdomekontany. Because the first 8 integers are chosen as generators, most
of the generators are factors of other generators. As a result there are only
12 unique pitches rather than the usual 70. Wilson CPS 4,8 [1,2,3,4,5,6,7,8]:
1: 35/32 155.1396
2: 9/8 203.9100
3: 315/256 359.0498
4: 5/4 386.3139
5: 21/16 470.7811
6: 45/32 590.2239
7: 3/2 701.9553
8: 105/64 857.0950
9: 7/4 968.8264
10: 15/8 1088.269
11: 63/32 1172.736
12: 2/1 1200.000 "

Anyway, can you send me the "Mt. Meru" tuning as a .scl file? Or is it on your
site? I'll look.......

BTW, it appears you are wrong about 2,4 [1,3,5,7] and 2,4 [1,1/3,1/5,1/7]
coming out the same:
| 2,4 [1, 1/3, 1/5, 1/7] (utonal)
0: 1/1 0.000 unison, perfect prime
1: 16/15 111.731 minor diatonic semitone
2: 8/7 231.174 septimal whole tone
3: 4/3 498.045 perfect fourth
4: 32/21 729.219 wide fifth
5: 8/5 813.686 minor sixth
6: 64/35 1044.860 septimal neutral seventh
7: 2/1 1200.000 octave
| 2,4 [1, 3, 5, 7] (otonal)
0: 1/1 0.000 unison, perfect prime
1: 35/32 155.140 septimal neutral second
2: 5/4 386.314 major third
3: 21/16 470.781 narrow fourth
4: 3/2 701.955 perfect fifth
5: 7/4 968.826 harmonic seventh
6: 15/8 1088.269 classic major seventh
7: 2/1 1200.000 octave

or am I missing something? Yes, I know they are symmetrical about 1/1....is
that what you mean?

Best,
Aaron

On Sunday 28 December 2003 07:18 pm, kraig grady wrote:
> > Hi Aaron!
> >
> >
> >
> >
> > From: "Aaron K. Johnson" <akjmicro@...>
> >
> >
> > When I want to get more non-western, I like what you've done with the CPS
> > scales....for instance what did you use for that spacious beat-filled
> > textural drone-like mp3 sample from your new album?
>
> these are all from the scales of mt. meru of which I have only used the
> third one. The second one following the fibonacci series is pretty much
> unexxplored and would produce similar effects. I think it forms scales at
> 11 places but you can still take it up to 12 which mean you would have an
> alternate. So of the latter ones also form MOS at 12 But i can't figure it
> out right at this moment
>
> > By 'tuning hexanies opposite' I assume you mean 1-3-5-7, and
> > 1-1/3-1/5-1/7 and octave normalized, no?
>
> in a hexany these two would come out the same. The ones i picked though
> occur on opposite sides of eikosanies
>
> > And by 'seperated by 1-3' you mean 'a perfect fifth apart', correct?
>
> yes i was just trying to show the different factors work each pair of
> hexanies are always seperated by the two factors not used in the hexany. If
> one wanted two 1-3-5-7 hexanies they occur a 9-11 apart. So i was just
> picking the ones that had a 3/2 either between 1-3 or 3-9. of of course you
> can always play with 13 limite hexanies a 3/2 apart which is virgin
> territory
>
> > I'm finding myself attracted to active, beating textures that I coud use
> > to slowly morph--you know, drone like things. Harmonics 12 thru 24 works,
> > but I want to keep exploring other options for the standard keyboard
> > before giving up and building stuff....
>
> For beating material , mt meru is the way to go!!!
>
> > Best,
> > Aaron.
>
> -- -Kraig Grady
> North American Embassy of Anaphoria Island
> http://www.anaphoria.com
> The Wandering Medicine Show
> KXLU 88.9 FM WED 8-9PM PST
>
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--
OCEAN, n. A body of water occupying about two-thirds of a world made
for man -- who has no gills. -Ambrose Bierce 'The Devils Dictionary'

Why is everything ever posted here echoed on tuning? This list
has a nice personality, if it's been too quiet here of late why
not post here? If your post doesn't get any attention after a
few days, then echo it to tuning.

-Carl

--- In MakeMicroMusic@yahoogroups.com, "Aaron K. Johnson"
<akjmicro@c...> wrote:

> BTW, it appears you are wrong about 2,4 [1,3,5,7] and 2,4
[1,1/3,1/5,1/7]
> coming out the same:
> | 2,4 [1, 1/3, 1/5, 1/7] (utonal)
> 0: 1/1 0.000 unison, perfect prime
> 1: 16/15 111.731 minor diatonic semitone
> 2: 8/7 231.174 septimal whole tone
> 3: 4/3 498.045 perfect fourth
> 4: 32/21 729.219 wide fifth
> 5: 8/5 813.686 minor sixth
> 6: 64/35 1044.860 septimal neutral seventh
> 7: 2/1 1200.000 octave
> | 2,4 [1, 3, 5, 7] (otonal)
> 0: 1/1 0.000 unison, perfect prime
> 1: 35/32 155.140 septimal neutral second
> 2: 5/4 386.314 major third
> 3: 21/16 470.781 narrow fourth
> 4: 3/2 701.955 perfect fifth
> 5: 7/4 968.826 harmonic seventh
> 6: 15/8 1088.269 classic major seventh
> 7: 2/1 1200.000 octave

Aaron, whoever created the above (probably you-know-who) didn't know
what they were doing. Hexanies only have six pitches to the octave,
not seven! And yes, the two come out the same -- depending on how you
calculate them, they may be transpositions (or modes) of one another,
or absolutely the same -- CPSs are not defined with respect to a
fixed tonal center the way Partch diamonds, etc. are.

I have a 'Gentle Introduction to CPSs' up somewhere . . .