MIDI: Regular diatonic music in 22-tET

Hello, everyone, and in response to some recent discussions I'd like
to offer links to two MIDI files of pieces in 22-tET illustrating
styles where this temperament can be used as a regular diatonic tuning
without complications involving "55-cent shifts" and the like.
However, for other styles favoring different sizes of thirds and
sixths, the complications can indeed often occur, so that one's view
of a tuning system often varies with stylistic choices.

The first piece here presented in 22-tET was recently used for a
comparison between Pythagorean intonation (the likely historical
choice for this kind of 13th-century style) and some similar
temperaments:

<http://www.calweb.com/~mschulter/librar22.mid>

The second piece, _Cantilena for George Secor_, has been used for a
recent comparison of 17-tone systems:

<http://www.calweb.com/~mschulter/cantigsv.mid>

Since this piece uses lots of prominent major sixth or minor seventh
sonorities, it can illustrate one of the features of 22-tET: nice
approximations with regular diatonic intervals of ratios based on
factors of 2-3-7-9, for example 7:6 minor thirds, 9:7 major thirds,
12:7 major sixths, and 7:4 minor sevenths. One can use these best
approximations in a neo-medieval kind of style while keeping to the
same familiar fingerings and note spellings as in Pythagorean tuning.

Two features of 22-tET have drawn mixed comments: the rather heavy
temperament of the fifth (about 7.14 cents wide), and the small size
of the diatonic semitone at around 55 cents (1/22 octave). While I
tend to prefer a milder tempering of the fifth (except when I'm using
something like 13-tET, 14-tET, 20-tET, or 25-tET, that is!), I find
this tuning a stimulating variation for medieval or neomedieval
music. Part of the fun is playing routine progressions in routine
patterns -- with a "pleasantly different" sound.

As has been discussed, 22-tET presents some complications when used
for diatonic major/minor styles of tonality based on just or
approximate ratios of 2-3-5 or 2-3-5-7; as an admirer of the 4:5:6:7
approximation in this and similar "paultone" temperaments, Paul Erlich
phas creatively and ingeniously developed a decatonic style of melody
and harmony in which the music at once fits the structure of these
tunings and achieves patterns of tonality analogous to those of the
major/minor system.

Most appreciatively,

Margo Schulter
mschulter@...

--- In MakeMicroMusic@yahoogroups.com, Margo Schulter
<mschulter@c...> wrote:

> The first piece here presented in 22-tET was recently used for a
> comparison between Pythagorean intonation (the likely historical
> choice for this kind of 13th-century style) and some similar
> temperaments:
>
> <http://www.calweb.com/~mschulter/librar22.mid>

I've uploaded an ogg version of this in the 22-et tuning to my web
site:

http://66.98.148.43/~xenharmo/coll.htm