lost in appalachia

Hello fellow microtonalists,

Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk style, a
harpsichord doing it's best to imitate banjo or guitar finger-picking style
a-la somthing like Leo Kottke.

It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit for me.

! aaron.scl
!
Another 3 and 7 based scale. (GWS)
12
!
28/27
9/8
7/6
9/7
4/3
49/36
3/2
14/9
12/7
7/4
49/27
2/1

http://www.akjmusic.com/audio/lost_in_appalachia.ogg

Enjoy!

Cheers,
--
Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

Nice, Aaron! More banjo than guitar for me (but then I'm a guitar player). I thought it also had just a hint of the Balkans from the "pull-off"-type ornaments I heard in a couple of spots.

Nice scale. If I ever get my guitar MIDI-fied, this would be a fun one to map to.

- Dave

Aaron K. Johnson wrote:
> > Hello fellow microtonalists,
> > Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk style, a > harpsichord doing it's best to imitate banjo or guitar finger-picking style > a-la somthing like Leo Kottke.
> > It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit for me.
> > ! aaron.scl
> !
> Another 3 and 7 based scale. (GWS)
> 12
> !
> 28/27
> 9/8
> 7/6
> 9/7
> 4/3
> 49/36
> 3/2
> 14/9
> 12/7
> 7/4
> 49/27
> 2/1
> > http://www.akjmusic.com/audio/lost_in_appalachia.ogg
> > Enjoy!
> > Cheers,

quite nice. i enjoyed the shifts to different places with their different intonations. i still don't know what it reminds me of (stylistically i mean) ., which might be a good thing!

Aaron K. Johnson wrote:

>Hello fellow microtonalists,
>
>Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk style, a >harpsichord doing it's best to imitate banjo or guitar finger-picking style >a-la somthing like Leo Kottke.
>
>It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit for me.
>
>! aaron.scl
>!
>Another 3 and 7 based scale. (GWS)
> 12
>!
> 28/27
> 9/8
> 7/6
> 9/7
> 4/3
> 49/36
> 3/2
> 14/9
> 12/7
> 7/4
> 49/27
> 2/1
>
>http://www.akjmusic.com/audio/lost_in_appalachia.ogg
>
>Enjoy!
>
>Cheers,
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

On Friday 11 February 2005 03:41 pm, Dave Seidel wrote:
> Nice, Aaron! More banjo than guitar for me (but then I'm a guitar
> player). I thought it also had just a hint of the Balkans from the
> "pull-off"-type ornaments I heard in a couple of spots.
>
> Nice scale. If I ever get my guitar MIDI-fied, this would be a fun one
> to map to.

(in reference to):

> > http://www.akjmusic.com/audio/lost_in_appalachia.ogg

Thanks for your comments, Dave. It is one of my staple scales now. I really
think Gene is a wizard for figuring it out. When it is latticed, it seems
hard to imagine how anyone could have missed it before he 'discovered' it (I
don't think it was known before Gene)--it has such a lovely symmetry to it on
the lattice, and a nice balance of available dyads.

-Aaron.

> - Dave
>
> Aaron K. Johnson wrote:
> > Hello fellow microtonalists,
> >
> > Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk style, a
> > harpsichord doing it's best to imitate banjo or guitar finger-picking
> > style a-la somthing like Leo Kottke.
> >
> > It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit for me.
> >
> > ! aaron.scl
> > !
> > Another 3 and 7 based scale. (GWS)
> > 12
> > !
> > 28/27
> > 9/8
> > 7/6
> > 9/7
> > 4/3
> > 49/36
> > 3/2
> > 14/9
> > 12/7
> > 7/4
> > 49/27
> > 2/1
> >
> > http://www.akjmusic.com/audio/lost_in_appalachia.ogg
> >
> > Enjoy!
> >
> > Cheers,
>
>
>
> Yahoo! Groups Links
>
>
>

--
Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

>Hello fellow microtonalists,
>
>Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk style, a
>harpsichord doing it's best to imitate banjo or guitar finger-picking style
>a-la somthing like Leo Kottke.
//
> http://www.akjmusic.com/audio/lost_in_appalachia.ogg

Aaron, this is excellent! (I like Leo Kottke too.)

-Carl

On Friday 11 February 2005 08:16 pm, Carl Lumma wrote:
> >Hello fellow microtonalists,
> >
> >Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk style, a
> >harpsichord doing it's best to imitate banjo or guitar finger-picking
> > style a-la somthing like Leo Kottke.
>
> //
>
> > http://www.akjmusic.com/audio/lost_in_appalachia.ogg
>
> Aaron, this is excellent! (I like Leo Kottke too.)

Thanks Carl---do you happen to own the 'Essential Leo Kottke' disk? It's
precisely that--all the best stuff from his early and middle days. I also
have 'The Leo Kottke collection', and a couple of albums-'Big Fat Boy', and
'Regards from Chuck Pink'

Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

I really like what he does with Sonoras Death Row and his own Frank
Forgets. His lyrics to Frank are really great and show an,err,
unusual perspective...I wish he did more stuff like that. I'll check
your piece later,downloading

--- In MakeMicroMusic@yahoogroups.com, "Aaron K. Johnson"
<akjmicro@c...> wrote:
> On Friday 11 February 2005 08:16 pm, Carl Lumma wrote:
> > >Hello fellow microtonalists,
> > >
> > >Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk
style, a
> > >harpsichord doing it's best to imitate banjo or guitar finger-
picking
> > > style a-la somthing like Leo Kottke.
> >
> > //
> >
> > > http://www.akjmusic.com/audio/lost_in_appalachia.ogg
> >
> > Aaron, this is excellent! (I like Leo Kottke too.)
>
> Thanks Carl---do you happen to own the 'Essential Leo Kottke' disk?
It's
> precisely that--all the best stuff from his early and middle days.
I also
> have 'The Leo Kottke collection', and a couple of albums-'Big Fat
Boy', and
> 'Regards from Chuck Pink'
>
> Aaron Krister Johnson
> http://www.akjmusic.com
> http://www.dividebypi.com

On Saturday 12 February 2005 06:34 am, daniel_anthony_stearns wrote:
> I really like what he does with Sonoras Death Row and his own Frank
> Forgets. His lyrics to Frank are really great and show an,err,
> unusual perspective...I wish he did more stuff like that. I'll check
> your piece later,downloading

Love Sonara's Death Row in particular-only know that tune from his version, so
can't imagine another one. I love the lyrics to that one, too. 'Frank
Forgets' is a weird one. The lyrics are a bit disturbing. My wife always
skips that one one road trips.

BTW, below, I meant to say the album's name as "Great Big Boy", and I said
"Big Fat Boy"! Oops!

-A.

> --- In MakeMicroMusic@yahoogroups.com, "Aaron K. Johnson"
>
> <akjmicro@c...> wrote:
> > On Friday 11 February 2005 08:16 pm, Carl Lumma wrote:
> > > >Hello fellow microtonalists,
> > > >
> > > >Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk
>
> style, a
>
> > > >harpsichord doing it's best to imitate banjo or guitar finger-
>
> picking
>
> > > > style a-la somthing like Leo Kottke.
> > >
> > > //
> > >
> > > > http://www.akjmusic.com/audio/lost_in_appalachia.ogg
> > >
> > > Aaron, this is excellent! (I like Leo Kottke too.)
> >
> > Thanks Carl---do you happen to own the 'Essential Leo Kottke' disk?
>
> It's
>
> > precisely that--all the best stuff from his early and middle days.
>
> I also
>
> > have 'The Leo Kottke collection', and a couple of albums-'Big Fat
>
> Boy', and
>
> > 'Regards from Chuck Pink'
> >
> > Aaron Krister Johnson
> > http://www.akjmusic.com
> > http://www.dividebypi.com
>
>
>
> Yahoo! Groups Links
>
>
>

--
Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

>> >Hello fellow microtonalists,
>> >
>> >Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk style, a
>> >harpsichord doing it's best to imitate banjo or guitar finger-picking
>> > style a-la somthing like Leo Kottke.
>>
>> //
>>
>> > http://www.akjmusic.com/audio/lost_in_appalachia.ogg
>>
>> Aaron, this is excellent! (I like Leo Kottke too.)
>
>Thanks Carl---do you happen to own the 'Essential Leo Kottke' disk? It's
>precisely that--all the best stuff from his early and middle days. I also
>have 'The Leo Kottke collection', and a couple of albums-'Big Fat Boy',
>and 'Regards from Chuck Pink'

I'm a snob; I don't buy compilations. I have Peculiaroso, which is
awesome, and Clone (also awesome), which is a collaboration with
Phish bassist Mike Gordon.

-C.

On Saturday 12 February 2005 12:37 pm, Carl Lumma wrote:
> >> >Hello fellow microtonalists,
> >> >
> >> >Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk style, a
> >> >harpsichord doing it's best to imitate banjo or guitar finger-picking
> >> > style a-la somthing like Leo Kottke.
> >>
> >> //
> >>
> >> > http://www.akjmusic.com/audio/lost_in_appalachia.ogg
> >>
> >> Aaron, this is excellent! (I like Leo Kottke too.)
> >
> >Thanks Carl---do you happen to own the 'Essential Leo Kottke' disk? It's
> >precisely that--all the best stuff from his early and middle days. I also
> >have 'The Leo Kottke collection', and a couple of albums-'Big Fat Boy',
> >and 'Regards from Chuck Pink'
>
> I'm a snob; I don't buy compilations.

I understand this aesthetic, but make exceptions from time to time. I happen
to think the best Leo Kottke I've heard was on these collections. Some albums
are fantastic from beggining to end though (like 'Guitar Music')

> I have Peculiaroso, which is
> awesome,

don't know it.

>and Clone (also awesome), which is a collaboration with
> Phish bassist Mike Gordon.

I've heard good things about it, even though, as you know because we've
discussed this, I despise the noodle-y pretentious post-prog rock, post-
deadhead mush that is Phish, in spite of the evident and admitted
musicianship involved. It's just that their aesthetic is utterly blah.

But I can imagine that Kottke's mere awesome and gentle presence tempered that
instinct in Gordon, and brought out his best.

BTW, Kottke puts on a *phenomenal* concert. To see him in a live show is a
great thing.

Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

>I've heard good things about it, even though, as you know because we've
>discussed this, I despise the noodle-y pretentious post-prog rock, post-
>deadhead mush that is Phish, in spite of the evident and admitted
>musicianship involved. It's just that their aesthetic is utterly blah.

As you know, I think it's brilliantly funny. But tastes do differ.

>> I have Peculiaroso, which is
>> awesome,
>
>don't know it.

Another thing I try to do is find excellent, unfairly rare albums with
cool titles and cover art.

>BTW, Kottke puts on a *phenomenal* concert. To see him in a live show
>is a great thing.

I'd like to see it sometime.

-Carl

Dear Microtonalists,

Two busted fingernails before the gig, and a 3:00 am noodle-fest later, may I present a new work-in-progress.

I had thought about this back around the Turkey Day Post-election Blues, but the conversation about Kottke kind of kicked into high gear. What would Big Bill Broonzy do with this guitar? What would Bukka White say? Anyway, Fahey came to mind, and after I'd done it, I thought about gathering eggs before daylight and feeding the stock &c. and next thing I knew I was in

Indiana ===> http://www.soundclick.com/bands/5/petemcraymusic.htm

I hope you'll check it out...sorry it's so long, I actually cut the worst mistake, but left another one or two in, including missed opportunities improvisation-wise...

I'd really like to hear what anyone thinks about my attempt at xenharmonic modal banjo sort of stuff, and any other general or specific comments/questions.

Happy Sunday!

Pete

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

>Indiana ===> http://www.soundclick.com/bands/5/petemcraymusic.htm

This is password-protected.

-C.

>>Indiana ===> http://www.soundclick.com/bands/5/petemcraymusic.htm
>
>This is password-protected.

Sorry, my mistake. That was another site in my browser.

This page does seem to be down from where I'm sitting at the
moment, though. :(

-C.

Pete,

{you wrote...}
>Indiana ===> http://www.soundclick.com/bands/5/petemcraymusic.htm

Heyheyhey! I listened first (something I couldn't do in my dialup days) and right away downloaded. You know what I like about this? It sounds completely in the vernacular, like the tuning fits as a nice piece of clothing. As if the music has always been this way.

I'll be looping this tomorrow, warts and all; right now, I'm editing music to apply for a grant with a choreographer...

Cheers,
Jon

On Sunday 13 February 2005 04:42 pm, Pete McRae wrote:
> Dear Microtonalists,
>
> Two busted fingernails before the gig, and a 3:00 am noodle-fest later, may
> I present a new work-in-progress.
>
> I had thought about this back around the Turkey Day Post-election Blues,
> but the conversation about Kottke kind of kicked into high gear. What
> would Big Bill Broonzy do with this guitar? What would Bukka White say?
> Anyway, Fahey came to mind, and after I'd done it, I thought about
> gathering eggs before daylight and feeding the stock &c. and next thing I
> knew I was in
>
> Indiana ===> http://www.soundclick.com/bands/5/petemcraymusic.htm
>
> I hope you'll check it out...sorry it's so long, I actually cut the worst
> mistake, but left another one or two in, including missed opportunities
> improvisation-wise...
>
> I'd really like to hear what anyone thinks about my attempt at xenharmonic
> modal banjo sort of stuff, and any other general or specific
> comments/questions.
>
> Happy Sunday!

Pete,

Loved it ! I think xenharmonic techniques go nicely with this style of folk
playing. I can dig a campfire with this kind of strumming going down. What's
your guitar tuned to again?

Check out my www.akjmusic.com/audio/lost_in_appalachia.ogg and you'll see a
different approach (yes, on harpsichord, not guitar).

Best,

Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

Thanks for listening and digging it, Kraig!
Off topic, did your girlfriend ever tell you that I tried to make phone
contact?

Best,
Aaron.

On Friday 11 February 2005 07:07 pm, Kraig Grady wrote:
> quite nice. i enjoyed the shifts to different places with their
> different intonations. i still don't know what it reminds me of
> (stylistically i mean) ., which might be a good thing!
>
> Aaron K. Johnson wrote:
> >Hello fellow microtonalists,
> >
> >Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk style, a
> >harpsichord doing it's best to imitate banjo or guitar finger-picking
> > style a-la somthing like Leo Kottke.
> >
> >It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit for me.
> >
> >! aaron.scl
> >!
> >Another 3 and 7 based scale. (GWS)
> > 12
> >!
> > 28/27
> > 9/8
> > 7/6
> > 9/7
> > 4/3
> > 49/36
> > 3/2
> > 14/9
> > 12/7
> > 7/4
> > 49/27
> > 2/1
> >
> >http://www.akjmusic.com/audio/lost_in_appalachia.ogg
> >
> >Enjoy!
> >
> >Cheers,

--
Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

I quite enjoy all these pieces you have been putting forth and it would be nice to have a Cd of it, or in my new favorite medium 3" cd's which holds upto 24 min. (Of which i will be having a release finished minus the printing of the artwork)
Yes Erin gave me the message but phone is often the hardest way to get me as multiple projects plus work have bitten into way more of my time than i wish. e-mail is good as i do it as a "break" from my other stuff. until after the academy awards ( which i work on yearly being my busiest work time) not much happens except that and those deadline that can be avoided. I will call after that

Aaron K. Johnson wrote:

>Thanks for listening and digging it, Kraig! >Off topic, did your girlfriend ever tell you that I tried to make phone >contact?
>
>Best,
>Aaron.
>
>On Friday 11 February 2005 07:07 pm, Kraig Grady wrote:
> >
>>quite nice. i enjoyed the shifts to different places with their
>>different intonations. i still don't know what it reminds me of
>>(stylistically i mean) ., which might be a good thing!
>>
>>Aaron K. Johnson wrote:
>> >>
>>>Hello fellow microtonalists,
>>>
>>>Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk style, a
>>>harpsichord doing it's best to imitate banjo or guitar finger-picking
>>>style a-la somthing like Leo Kottke.
>>>
>>>It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit for me.
>>>
>>>! aaron.scl
>>>!
>>>Another 3 and 7 based scale. (GWS)
>>>12
>>>!
>>>28/27
>>>9/8
>>>7/6
>>>9/7
>>>4/3
>>>49/36
>>>3/2
>>>14/9
>>>12/7
>>>7/4
>>>49/27
>>>2/1
>>>
>>>http://www.akjmusic.com/audio/lost_in_appalachia.ogg
>>>
>>>Enjoy!
>>>
>>>Cheers,
>>> >>>
>
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

that is great Pete!!!
Do more of this as it seems to conceptionally serve you well. often we carry these ghost of inspirational persons that it is good to let them speak!

Pete McRae wrote:

>Dear Microtonalists,
>
>Two busted fingernails before the gig, and a 3:00 am noodle-fest later, may I present a new work-in-progress.
>
>I had thought about this back around the Turkey Day Post-election Blues, but the conversation about Kottke kind of kicked into high gear. What would Big Bill Broonzy do with this guitar? What would Bukka White say? Anyway, Fahey came to mind, and after I'd done it, I thought about gathering eggs before daylight and feeding the stock &c. and next thing I knew I was in
>
>Indiana ===> http://www.soundclick.com/bands/5/petemcraymusic.htm
>
>I hope you'll check it out...sorry it's so long, I actually cut the worst mistake, but left another one or two in, including missed opportunities improvisation-wise...
>
>I'd really like to hear what anyone thinks about my attempt at xenharmonic modal banjo sort of stuff, and any other general or specific comments/questions.
>
>Happy Sunday!
>
>Pete
>
>
>
>
>[Non-text portions of this message have been removed]
>
>
>
>
> >Yahoo! Groups Links
>
>
>
> >
>
>
>
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

That's cool, Pete! What kind of tuning (strings & frets) do you have on that guitar? It definitely works well with the style. Nice clean tone, too.

- Dave

Pete McRae wrote:
> > Dear Microtonalists,
> > Two busted fingernails before the gig, and a 3:00 am noodle-fest later, may I present a new work-in-progress.
> > I had thought about this back around the Turkey Day Post-election Blues, but the conversation about Kottke kind of kicked into high gear. What would Big Bill Broonzy do with this guitar? What would Bukka White say? Anyway, Fahey came to mind, and after I'd done it, I thought about gathering eggs before daylight and feeding the stock &c. and next thing I knew I was in
> > Indiana ===> http://www.soundclick.com/bands/5/petemcraymusic.htm
> > I hope you'll check it out...sorry it's so long, I actually cut the worst mistake, but left another one or two in, including missed opportunities improvisation-wise...
> > I'd really like to hear what anyone thinks about my attempt at xenharmonic modal banjo sort of stuff, and any other general or specific comments/questions.
> > Happy Sunday!
> > Pete

On Monday 14 February 2005 12:28 am, Kraig Grady wrote:
> I quite enjoy all these pieces you have been putting forth and it would
> be nice to have a Cd of it, or in my new favorite medium 3" cd's which
> holds upto 24 min. (Of which i will be having a release finished minus
> the printing of the artwork)

Kraig, I'd be happy to send you a burned copy of a few of my latest! Send me
your address again in a private email--I have to put it in my palm pilot.

> Yes Erin gave me the message but phone is often the hardest way to get
> me as multiple projects plus work have bitten into way more of my time
> than i wish. e-mail is good as i do it as a "break" from my other stuff.
> until after the academy awards ( which i work on yearly being my busiest
> work time) not much happens except that and those deadline that can be
> avoided. I will call after that

Cool. It would be great to talk. Your girlfriend was really a nice person on
the phone, BTW. After I spoke with her too, I got to finally hear a webcast
of your show, which is very cool. You opened with Norwegian Hardanger
fiddling, which, after my experience working on 'Peer Gynt', was most
synchronistic!

BTW, 'Peer Gynt' closed yesterday after two extensions. I wasn't there, but
the lead actor called my wife and said the whole audience and cast was
weeping at its closing, and they got 4 curtain calls and a standing ovation.
I got a lump in my throat hearing that. The whole experience of working on it
with that cast and crew was magnificent...of course, it was especially nice
to inject a microtonal score into the mix !!!!

Next on the Artistic Home's plate is 'Natural Affection', a dark play by
William Inge. I think my sound-track will be primarily neo-Monkian abstract
12-tet jazz (unless anyone can point me to some tunings that do typical jazz
chords as well as 12-tet does---by typical I mean some of the more dissonant
types like altered chords, dominant sharp ninths, etc.). But in any event,
jazz of some sort or other it will be...

Cheers,
Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

"Aaron K. Johnson" <akjmicro@...> writes:

> It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit for me.

Is there some previous discussion of this scale you can refer me to?
I have a feeling doing an archives search for "aaron" isn't going to
be too useful...

> Another 3 and 7 based scale. (GWS)

Presumably meaning there are others out there. Such as?

> 12
> !
> 28/27
> 9/8
> 7/6
> 9/7
> 4/3
> 49/36
> 3/2
> 14/9
> 12/7
> 7/4
> 49/27
> 2/1

I've been playing around with the mathematics of 3 and 7 based scales
since seeing this, trying to decide which 12 notes make sense, and my
latest version turns out to be similar to this... a few differences
though. It ended up being, I think (if I have the terminology right)
a JI interpretation of a Superpyth-12 scale. I'm curious about some
of the different choices that have been made.

- Rich Holmes

On Monday 14 February 2005 10:26 am, Rich Holmes wrote:
> "Aaron K. Johnson" <akjmicro@...> writes:
> > It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit for me.
>
> Is there some previous discussion of this scale you can refer me to?
> I have a feeling doing an archives search for "aaron" isn't going to
> be too useful...
>
> > Another 3 and 7 based scale. (GWS)
>
> Presumably meaning there are others out there. Such as?

The Scala header on this was mostly my personal one when I made it, to
distinguish it from the other notable "good" one that Gene made, that he
called "akj".

The relevant messages from the original thread can be found at:

/tuning/topicId_53040.html#53059 (aaron.scl) (my
personal fave)
/tuning/topicId_53061.html#53062 (akj.scl)

> I've been playing around with the mathematics of 3 and 7 based scales
> since seeing this, trying to decide which 12 notes make sense, and my
> latest version turns out to be similar to this... a few differences
> though. It ended up being, I think (if I have the terminology right)
> a JI interpretation of a Superpyth-12 scale. I'm curious about some
> of the different choices that have been made.

Following the above thread with the above posts as starting points should give
you an idea of what Gene did. I think just taking a lattice of 3 and 7 and
looking for logical shapes ought to have had 'aaron' be discovered, except
Gene's post is the first mention of such a scale I've ever encountered.

I think it ought to be renamed either in Gene's honor, or a general
descriptive term like "Ultra 3&7" (or something less cheesy perhaps). More
people ought to work in this scale, and I find I get turned away from scales
that people "claim" with their name--it makes me feel as a composer that
someone's already done everything there is to do in this scale, and put their
'stamp' on it. Not the case here. It's a quite rich, and fruitful scale.

Best,
Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

"Aaron K. Johnson" <akjmicro@...> writes:

> The relevant messages from the original thread can be found at:
>
> /tuning/topicId_53040.html#53059 (aaron.scl) (my
> personal fave)
> /tuning/topicId_53061.html#53062 (akj.scl)

Thanks! I'll have to check my notes when I get home, but I'm pretty
sure akj.scl is exactly the scale I came up with last night / this
morning, by less formal means than studying Fokker blocks. Wait, no,
I had 12/7 instead of 27/16, I believe.

- Rich Holmes

Aaron,

{you wrote...}
>Next on the Artistic Home's plate is 'Natural Affection', a dark play by >William Inge. I think my sound-track will be primarily neo-Monkian >abstract 12-tet jazz (unless anyone can point me to some tunings that do >typical jazz chords as well as 12-tet does---by typical I mean some of the >more dissonant types like altered chords, dominant sharp ninths, etc.). >But in any event, jazz of some sort or other it will be...

By all means, do what the play NEEDS, not what anyone might want to put upon it. If 12tet jazz is what will enhance the dramatic thrust, then that is the best choice. If one arbitrarily puts a particular tuning agenda in place to suit some other need, they aren't doing a service to the production.

I am _sure_ you are aware of this already, but we've all got to keep our zeal in check at times. I've got two projects for this spring, and from initial investigation only one of them is a prime candidate for non-12. And that doesn't concern me.

Cheers,
Jon

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

> I've heard good things about it, even though, as you know because
we've
> discussed this, I despise the noodle-y pretentious post-prog rock,
post-
> deadhead mush that is Phish, in spite of the evident and admitted
> musicianship involved. It's just that their aesthetic is utterly
>blah.

I find some of their performances so thrilling -- like "Stash"
and "Tweezer" from _A Live One_ -- that it makes all the blah worth
it for me. Glad to hear you "despise" it, though -- I love you anyway!

Why don't we get back to microtonality -- can you guys move the
Kottke thread to metatuning?

Hi Rich,

Why don't you post this on the Tuning list instead?

That's where this thread originated.

This list, MakeMicroMusic, was created to get away from the involved
or technical discussions of tuning system choices that often
predominated on the Tuning list.

Also there's a Tuning-Math list for the topics and posts that are
more mathematical in nature.

> It ended up being, I think (if I have the terminology right)
> a JI interpretation of a Superpyth-12 scale. I'm curious about some
> of the different choices that have been made.

I'm delighted that you've been reading my posts and/or new paper that
I send you. Let's talk about this on one of the other lists, OK?

-Paul

Pete, I don't know how ye do it...

Defintely true to the idiom. I really liked the rhythmic patterns
you used; I'd love to actually *see* how you play it, you've got some
DYNAMITE right-hand work goin' on (too bad all those rumors about the
ubiquity of videophones in the 21st century ain't true). It's kinda
funny, all this talk about Leo Kottke and finger-style guitar, cuz I
just got into him last month, via Kaki King (who is one of the best
guitarists I've ever seen...she gives both Leo and Preston Reed and
run for their money!)

One of these days, you gotta post some pics of that guitar of yours!

-Igs

--- In MakeMicroMusic@yahoogroups.com, Pete McRae
<petesfriedclams@s...> wrote:
>
> Dear Microtonalists,
>
> Two busted fingernails before the gig, and a 3:00 am noodle-fest
later, may I present a new work-in-progress.
>
> I had thought about this back around the Turkey Day Post-election
Blues, but the conversation about Kottke kind of kicked into high
gear. What would Big Bill Broonzy do with this guitar? What would
Bukka White say? Anyway, Fahey came to mind, and after I'd done it,
I thought about gathering eggs before daylight and feeding the stock
&c. and next thing I knew I was in
>
> Indiana ===> http://www.soundclick.com/bands/5/petemcraymusic.htm
>
> I hope you'll check it out...sorry it's so long, I actually cut the
worst mistake, but left another one or two in, including missed
opportunities improvisation-wise...
>
> I'd really like to hear what anyone thinks about my attempt at
xenharmonic modal banjo sort of stuff, and any other general or
specific comments/questions.
>
> Happy Sunday!
>
> Pete
>
>
>
>
> [Non-text portions of this message have been removed]

Hello, there, Aaron and everyone, and please let me say that I found _Lost
in Appalachia_ a neat mixture of your 2-3-7 JI scale by Gene with a folksy
and, it seemed to me, sometimes pentatonic kind of feeling.

It's interesting how the same ratios can support a range of styles, and I
enjoy the 20th-century elements of different kinds that you often bring
into your pieces.

Most appreciatively,

Margo
mschulter@...

La Monte Youngs well tuned piano is tuned to a scale of 3 and 7. In fact in might have been the first in this category

Aaron K. Johnson wrote:

>On Monday 14 February 2005 10:26 am, Rich Holmes wrote:
> >
>>"Aaron K. Johnson" <akjmicro@...> writes:
>> >>
>>>It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit for me.
>>> >>>
>>Is there some previous discussion of this scale you can refer me to?
>>I have a feeling doing an archives search for "aaron" isn't going to
>>be too useful...
>>
>> >>
>>>Another 3 and 7 based scale. (GWS)
>>> >>>
>>Presumably meaning there are others out there. Such as?
>> >>
>
>The Scala header on this was mostly my personal one when I made it, to >distinguish it from the other notable "good" one that Gene made, that he >called "akj".
>
>The relevant messages from the original thread can be found at:
>
>/tuning/topicId_53040.html#53059 (aaron.scl) (my >personal fave)
>/tuning/topicId_53061.html#53062 (akj.scl)
>
> >
>>I've been playing around with the mathematics of 3 and 7 based scales
>>since seeing this, trying to decide which 12 notes make sense, and my
>>latest version turns out to be similar to this... a few differences
>>though. It ended up being, I think (if I have the terminology right)
>>a JI interpretation of a Superpyth-12 scale. I'm curious about some
>>of the different choices that have been made.
>> >>
>
>Following the above thread with the above posts as starting points should give >you an idea of what Gene did. I think just taking a lattice of 3 and 7 and >looking for logical shapes ought to have had 'aaron' be discovered, except >Gene's post is the first mention of such a scale I've ever encountered.
>
>I think it ought to be renamed either in Gene's honor, or a general >descriptive term like "Ultra 3&7" (or something less cheesy perhaps). More >people ought to work in this scale, and I find I get turned away from scales >that people "claim" with their name--it makes me feel as a composer that >someone's already done everything there is to do in this scale, and put their >'stamp' on it. Not the case here. It's a quite rich, and fruitful scale.
>
>Best,
>Aaron Krister Johnson
>http://www.akjmusic.com
>http://www.dividebypi.com
>
>
>
>
> >Yahoo! Groups Links
>
>
>
> >
>
>
>
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

This reminds me of my favorite Ervin Wilson stories. Back in the days when La Monte's tunings were total secrets, sitting at Erv's kitchen table, I casually mentioned that the WTP had two tones out of sequence (where a key to the right had a lower pitch than the key to left). In a matter of seconds, Erv drew a lattice, and said: "is this it?" Of course it was, and then Erv went on to draw two or three variations on the theme, each with comments about advantages and disadvantages that were far from obvious.

(My little book on La Monte (1984) was not published because I had to go into fairly elaborate verbal contortions to get around his restrictions on describing the tunings. These appear to be gone since Gann published his PNM article, but that publication also killed any interest in my MS. I suppose that someday, I'll do a German version and include the important newer pieces... I really need to add about six more hours to my days!)

DJW

Kraig Grady wrote:

> La Monte Youngs well tuned piano is tuned to a scale of 3 and 7. In fact
> in might have been the first in this category
>

Hi Dave,

Thanks!

The guitar is fretted in the (3,6) 1 3 7 9 11 15 Eikosany with pigtails,

www.anaphoria.com/dal.PDF and many thanks to Kraig Grady for the incentive and assistance!

The open strings are "D#" and "A#", or 7/6 and 7/4 of the scale, on C.

I just went for a 'Dorian' sort of thing, 1/1 8/7 90/77 4/3 3/2 12/7 135/77 2/1, and stuck to it, making chords straight out of it, etc. in "D#".

Next up, I hope, is a really sweet sounding 5-limit thing with a capo on the 2nd fret.

Dave Seidel <dave@...> wrote:
That's cool, Pete! What kind of tuning (strings & frets) do you have on
that guitar? It definitely works well with the style. Nice clean tone,
too.

- Dave

Pete McRae wrote:
>
> Dear Microtonalists,
>
> Two busted fingernails before the gig, and a 3:00 am noodle-fest later, may I present a new work-in-progress.
>
> I had thought about this back around the Turkey Day Post-election Blues, but the conversation about Kottke kind of kicked into high gear. What would Big Bill Broonzy do with this guitar? What would Bukka White say? Anyway, Fahey came to mind, and after I'd done it, I thought about gathering eggs before daylight and feeding the stock &c. and next thing I knew I was in
>
> Indiana ===> http://www.soundclick.com/bands/5/petemcraymusic.htm
>
> I hope you'll check it out...sorry it's so long, I actually cut the worst mistake, but left another one or two in, including missed opportunities improvisation-wise...
>
> I'd really like to hear what anyone thinks about my attempt at xenharmonic modal banjo sort of stuff, and any other general or specific comments/questions.
>
> Happy Sunday!
>
> Pete

Yahoo! Groups Links

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

"Paul Erlich" <paul@...> writes:

> Hi Rich,
>
> Why don't you post this on the Tuning list instead?

Sorry; I considered it, but didn't think it necessary for a quick
question about a scale in response to a post on MMM. Next time I'll
know better.

- Rich Holmes

--- In MakeMicroMusic@yahoogroups.com, Rich Holmes<rsholmes@m...>
wrote:
> "Paul Erlich" <paul@s...> writes:
>
> > Hi Rich,
> >
> > Why don't you post this on the Tuning list instead?
>
> Sorry; I considered it, but didn't think it necessary for a quick
> question about a scale in response to a post on MMM. Next time I'll
> know better.
>
> - Rich Holmes

My dear Rich,

I wanted nothing more in the whole wide world than to answer your
question and continue this discussion with you and Aaron Johnston.
I'm so sorry I upset you. I was only trying to avoid upsetting those
members of this list who get upset when they see many ratios, talk of
temperament, technical tuning terms, consonance theory, math, etc.
Please let me know how I can make this right, Rich.

Eagerly awaiting,
Paul

sorry,tried to dowmload this but the library won't recognize the
file type (ogg)
--- In MakeMicroMusic@yahoogroups.com, "Aaron K. Johnson"
<akjmicro@c...> wrote:
>
> Hello fellow microtonalists,
>
> Here's an improvisation dated Feb 3rd, 2005, in a quasi-folk
style, a
> harpsichord doing it's best to imitate banjo or guitar finger-
picking style
> a-la somthing like Leo Kottke.
>
> It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit
for me.
>
> ! aaron.scl
> !
> Another 3 and 7 based scale. (GWS)
> 12
> !
> 28/27
> 9/8
> 7/6
> 9/7
> 4/3
> 49/36
> 3/2
> 14/9
> 12/7
> 7/4
> 49/27
> 2/1
>
> http://www.akjmusic.com/audio/lost_in_appalachia.ogg
>
> Enjoy!
>
> Cheers,
> --
> Aaron Krister Johnson
> http://www.akjmusic.com
> http://www.dividebypi.com

nice job pete!Have you posted about this guitar before?

--- In MakeMicroMusic@yahoogroups.com, Pete McRae
<petesfriedclams@s...> wrote:
>
> Dear Microtonalists,
>
> Two busted fingernails before the gig, and a 3:00 am noodle-fest
later, may I present a new work-in-progress.
>
> I had thought about this back around the Turkey Day Post-election
Blues, but the conversation about Kottke kind of kicked into high
gear. What would Big Bill Broonzy do with this guitar? What would
Bukka White say? Anyway, Fahey came to mind, and after I'd done it,
I thought about gathering eggs before daylight and feeding the stock
&c. and next thing I knew I was in
>
> Indiana ===>
http://www.soundclick.com/bands/5/petemcraymusic.htm
>
> I hope you'll check it out...sorry it's so long, I actually cut
the worst mistake, but left another one or two in, including missed
opportunities improvisation-wise...
>
> I'd really like to hear what anyone thinks about my attempt at
xenharmonic modal banjo sort of stuff, and any other general or
specific comments/questions.
>
> Happy Sunday!
>
> Pete
>
>
>
>
> [Non-text portions of this message have been removed]

>> It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit for >> me.

oh yes! that is _definitely_ tasty; such a wide spectrum of dissonance. the beginning A theme is so weird, but we get so used to it that when we get to the middle of the rondo the payoff C section's moments of consonance are almost stranger. Congratulations to both aarons!

I'm convinced that the best way to convey microtonalities, especially to the uninitiated, is through repetition. Giving the audience enough time to set a new frame of reference equals good. otherwise they cant be sure that what they're hearing isn't just 'out of tune'

-shirleyquirk

On Sunday 20 February 2005 10:05 pm, Benjamin Shirley-Quirk wrote:
> >> It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit for
> >> me.
>
> oh yes! that is _definitely_ tasty; such a wide spectrum of
> dissonance. the beginning A theme is so weird, but we get so used to
> it that when we get to the middle of the rondo the payoff C section's
> moments of consonance are almost stranger. Congratulations to both
> aarons!

Thank you, Benjamin.

> I'm convinced that the best way to convey microtonalities, especially
> to the uninitiated, is through repetition. Giving the audience enough
> time to set a new frame of reference equals good. otherwise they cant
> be sure that what they're hearing isn't just 'out of tune'

I think you have made a very good observation. BTW, are you new, or are you an
infrequent poster? Welcome, in any event.

Best,

Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

I agree. Along with repetition, I think that the speed of the music can also be a big factor, both literal tempo and rate of harmonic motion. I think it's difficult to hear unaccustomed notes and harmonies if they go by too fast. I've been doing a lot of slow stuff, partly for that reason, and also because I just like slow music. :-)

- Dave

---
Dave Seidel
[blog] http://superluminal.com/dave/weblog
[music] http://mysterybear.net

Benjamin Shirley-Quirk wrote:
> I'm convinced that the best way to convey microtonalities, especially > to the uninitiated, is through repetition. Giving the audience enough > time to set a new frame of reference equals good. otherwise they cant > be sure that what they're hearing isn't just 'out of tune'
> > -shirleyquirk

Hello David and everybody, just a couple random thoughts.....

I think the way we feel about music is tied much tighter to our
personal tastes than it is anything else. Personally I like music
that transcends its components and particulars. I know a lot of folks
prefer slow,unfolding tone stimuli when it comes to microtoanlity and
I'm aware that even a music as startlingly original and transpotive
(to Partchland) as Harry Partch's has been criticized for promoting
just intonation and then sending it all flying by at too rapid a clip
to justify its usage. I understand but I don't agree. In fact, it's
often been my experience that a lot of microcultists allow the
demonstration of the new tones to unfold in so deliberate and
unadorned a fashion that I feel as though I'm in the presence of a
musical "Watch Spot run." Or,in the case of the
repetitionists, "Watch Spot run. Watch Spot run. Watch Spot run." Now
I like monosyllable sentences as much as the next three-year-old, but
I digress... obviously tastes differ, and everyone's mileage is going
to vary given their perspective.

Another important thing,aside from the opinions of humans, is
physical interface. Music tends to get made along the idiomatic lines
of the instruments and technology at hand. For instance, I have a
microtonal banjo, and the congenital character of the instrument
doesn't really lend itself to slowly sustained unfoldings--this was
also true of most of Partch's collection of plucked, strummed and
struck micromakers. I also have a fujara, and its design and
interface is as different from the microbanjo as the mouse's
heartrate is from the elephant's. The technology of the banjo and the
fujara suggest a metabolic makeup that would hardly recognize each
other... but the mouse and the elephant coexist and us humans are
crafty pantheists and stubborn creatures of habit ,and the music I
make with the fujara is no less obviously my music than the music I
make with the banjo. They both have to pass through me and my likes
and dislikes, abilities and disabilities and all the other
curiosities that take sounds out of the covert realm of the passive
event and into the chaotic world of overt human interaction;a sort of
multidimensional circus full of funny mirrors and magic tricks where
wonders never cease...

--- In MakeMicroMusic@yahoogroups.com, Dave Seidel <dave@s...> wrote:
> I agree. Along with repetition, I think that the speed of the
music can
> also be a big factor, both literal tempo and rate of harmonic
motion. I
> think it's difficult to hear unaccustomed notes and harmonies if
they go
> by too fast. I've been doing a lot of slow stuff, partly for that
> reason, and also because I just like slow music. :-)
>
> - Dave
>
> ---
> Dave Seidel
> [blog] http://superluminal.com/dave/weblog
> [music] http://mysterybear.net
>
>
>
> Benjamin Shirley-Quirk wrote:
> > I'm convinced that the best way to convey microtonalities,
especially
> > to the uninitiated, is through repetition. Giving the audience
enough
> > time to set a new frame of reference equals good. otherwise they
cant
> > be sure that what they're hearing isn't just 'out of tune'
> >
> > -shirleyquirk

No argument, Daniel, I agree. I didn't mean to endorse any particular approach as a universal way of writing *any* sort of music, let alone microtonal music. It was just a subjective observation. It would be no fun at all if all composers had the same approach. Every instrument, has its own voice, and so does every composer.

Of course, harmonic rhythm can be completely orthogonal to tempo and texture. For example, banjos are really good at expressing rapidly-arpeggiated chordal patterns, and that's true whether those chords are changing quickly or slowly. So it's entirely possible to have a slow harmonic rhythm with "fast" music, and plenty of banjo music fits that description. Another example: the "clouds" in La Monte Young's and Michael Harrison's piano music -- very fast on a micro level, practically stationary on a macro level.

But again, I'm not saying that music *ought* to be one way or another, I'm just speculating that particularly for new ears, slowness on some level can be useful in allowing new pathways to open in the listener. On the other hand, repeated listening has the same effect. But the common factor is time. Most of us (including me) are too young to have been around when Coltrane's Giant Steps first came out, but I'll bet there was a significant proportion of listeners who really had to play that record a few times before they "got" it.

- Dave

daniel_anthony_stearns wrote:
> > Hello David and everybody, just a couple random thoughts.....
> > I think the way we feel about music is tied much tighter to our > personal tastes than it is anything else. Personally I like music > that transcends its components and particulars. I know a lot of folks > prefer slow,unfolding tone stimuli when it comes to microtoanlity and > I'm aware that even a music as startlingly original and transpotive > (to Partchland) as Harry Partch's has been criticized for promoting > just intonation and then sending it all flying by at too rapid a clip > to justify its usage. I understand but I don't agree. In fact, it's > often been my experience that a lot of microcultists allow the > demonstration of the new tones to unfold in so deliberate and > unadorned a fashion that I feel as though I'm in the presence of a > musical "Watch Spot run." Or,in the case of the > repetitionists, "Watch Spot run. Watch Spot run. Watch Spot run." Now > I like monosyllable sentences as much as the next three-year-old, but > I digress... obviously tastes differ, and everyone's mileage is going > to vary given their perspective. > > Another important thing,aside from the opinions of humans, is > physical interface. Music tends to get made along the idiomatic lines > of the instruments and technology at hand. For instance, I have a > microtonal banjo, and the congenital character of the instrument > doesn't really lend itself to slowly sustained unfoldings--this was > also true of most of Partch's collection of plucked, strummed and > struck micromakers. I also have a fujara, and its design and > interface is as different from the microbanjo as the mouse's > heartrate is from the elephant's. The technology of the banjo and the > fujara suggest a metabolic makeup that would hardly recognize each > other... but the mouse and the elephant coexist and us humans are > crafty pantheists and stubborn creatures of habit ,and the music I > make with the fujara is no less obviously my music than the music I > make with the banjo. They both have to pass through me and my likes > and dislikes, abilities and disabilities and all the other > curiosities that take sounds out of the covert realm of the passive > event and into the chaotic world of overt human interaction;a sort of > multidimensional circus full of funny mirrors and magic tricks where > wonders never cease...
> > --- In MakeMicroMusic@yahoogroups.com, Dave Seidel <dave@s...> wrote:
> >>I agree. Along with repetition, I think that the speed of the > > music can > >>also be a big factor, both literal tempo and rate of harmonic > > motion. I > >>think it's difficult to hear unaccustomed notes and harmonies if > > they go > >>by too fast. I've been doing a lot of slow stuff, partly for that >>reason, and also because I just like slow music. :-)
>>
>>- Dave
>>
>>---
>>Dave Seidel
>> [blog] http://superluminal.com/dave/weblog
>>[music] http://mysterybear.net
>>
>>
>>
>>Benjamin Shirley-Quirk wrote:
>>
>>>I'm convinced that the best way to convey microtonalities, > > especially > >>>to the uninitiated, is through repetition. Giving the audience > > enough > >>>time to set a new frame of reference equals good. otherwise they > > cant > >>>be sure that what they're hearing isn't just 'out of tune'
>>>
>>>-shirleyquirk
> > > > > > > > > Yahoo! Groups Links
> > > > > > > >

Dan-

I agree with some of your points, but I think I go beyond you in saying that I
think it's hard for me to quantify or filter-by-rule, if you will, whether or
not I will like something or not based on whether it is repetitive or not.
Besides, 'repetition' comes in so many subtle varieties it becomes hard to
define it. A set of variations is considered 'diverse repetition'. If we are
too strict about our standards, there go the Goldbergs!

Re: Harry Partch I think there is something valid in the critique that he used
quick tempi and quick decay instruments, OTOH, he wrote some killer music, so
it doesn't matter in a way, and you still get the sense of 'otherness' from
it, so in a way I agree *and* disagree with you. Let those who would critque
Partch's method go their own way, and make their own engaging music, even at
snail's pace tempi...I'm all for sonic hypnosis.

It might help us understand *precisely* what you are standing for/against by
naming names (if you are comfy with that) of specific pieces/composers that
you would condemn as being by a 'repetitionist' ;)

Re: instruments and idiomatic writing, I believe that great music has been
written by composers who didn't particularly play the instrument at all or at
all well, that they wrote for. Often this leads to innovation of that
instrumental technique! Sibelius was a violinist who wrote some engaging
piano pieces (right now I'm learning the first Sonatina). And, you have
composers who tend to write abstractly (Bach comes to mind, although it's a
half-truth), and the lines work because they are conceived in a more-or-less
monochromatic fashion.

Finally, I think all great music has a sense of transcending it 'components
and particulars'.....so I agree with that statement.

-Aaron.

On Monday 21 February 2005 11:19 am, daniel_anthony_stearns wrote:
> Hello David and everybody, just a couple random thoughts.....
>
> I think the way we feel about music is tied much tighter to our
> personal tastes than it is anything else. Personally I like music
> that transcends its components and particulars. I know a lot of folks
> prefer slow,unfolding tone stimuli when it comes to microtoanlity and
> I'm aware that even a music as startlingly original and transpotive
> (to Partchland) as Harry Partch's has been criticized for promoting
> just intonation and then sending it all flying by at too rapid a clip
> to justify its usage. I understand but I don't agree. In fact, it's
> often been my experience that a lot of microcultists allow the
> demonstration of the new tones to unfold in so deliberate and
> unadorned a fashion that I feel as though I'm in the presence of a
> musical "Watch Spot run." Or,in the case of the
> repetitionists, "Watch Spot run. Watch Spot run. Watch Spot run." Now
> I like monosyllable sentences as much as the next three-year-old, but
> I digress... obviously tastes differ, and everyone's mileage is going
> to vary given their perspective.
>
> Another important thing,aside from the opinions of humans, is
> physical interface. Music tends to get made along the idiomatic lines
> of the instruments and technology at hand. For instance, I have a
> microtonal banjo, and the congenital character of the instrument
> doesn't really lend itself to slowly sustained unfoldings--this was
> also true of most of Partch's collection of plucked, strummed and
> struck micromakers. I also have a fujara, and its design and
> interface is as different from the microbanjo as the mouse's
> heartrate is from the elephant's. The technology of the banjo and the
> fujara suggest a metabolic makeup that would hardly recognize each
> other... but the mouse and the elephant coexist and us humans are
> crafty pantheists and stubborn creatures of habit ,and the music I
> make with the fujara is no less obviously my music than the music I
> make with the banjo. They both have to pass through me and my likes
> and dislikes, abilities and disabilities and all the other
> curiosities that take sounds out of the covert realm of the passive
> event and into the chaotic world of overt human interaction;a sort of
> multidimensional circus full of funny mirrors and magic tricks where
> wonders never cease...
>
> --- In MakeMicroMusic@yahoogroups.com, Dave Seidel <dave@s...> wrote:
> > I agree. Along with repetition, I think that the speed of the
>
> music can
>
> > also be a big factor, both literal tempo and rate of harmonic
>
> motion. I
>
> > think it's difficult to hear unaccustomed notes and harmonies if
>
> they go
>
> > by too fast. I've been doing a lot of slow stuff, partly for that
> > reason, and also because I just like slow music. :-)
> >
> > - Dave
> >
> > ---
> > Dave Seidel
> > [blog] http://superluminal.com/dave/weblog
> > [music] http://mysterybear.net
> >
> > Benjamin Shirley-Quirk wrote:
> > > I'm convinced that the best way to convey microtonalities,
>
> especially
>
> > > to the uninitiated, is through repetition. Giving the audience
>
> enough
>
> > > time to set a new frame of reference equals good. otherwise they
>
> cant
>
> > > be sure that what they're hearing isn't just 'out of tune'
> > >
> > > -shirleyquirk
>
>
>
> Yahoo! Groups Links
>
>
>

--
Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

The only thing i would like to add to the thoughts below is that , hopefully the endeavor in to microtones is something beyond just a comment on the material being used. This is not to disregard the quality of, let say, Just Intonation to allow a slower music than before, due to each moment being filled often with phenomenon that satisfies the ear. (I am sure other tunings have possibly similar qualities that might do the same). Nor should we forget that instruments developed along with the tunings that they used. But that a tuning will take on different qualities in different textures, something we have barely scratched the surface of.

daniel_anthony_stearns wrote:

>Hello David and everybody, just a couple random thoughts.....
>
>I think the way we feel about music is tied much tighter to our >personal tastes than it is anything else. Personally I like music >that transcends its components and particulars. I know a lot of folks >prefer slow,unfolding tone stimuli when it comes to microtoanlity and >I'm aware that even a music as startlingly original and transpotive >(to Partchland) as Harry Partch's has been criticized for promoting >just intonation and then sending it all flying by at too rapid a clip >to justify its usage. I understand but I don't agree. In fact, it's >often been my experience that a lot of microcultists allow the >demonstration of the new tones to unfold in so deliberate and >unadorned a fashion that I feel as though I'm in the presence of a >musical "Watch Spot run." Or,in the case of the >repetitionists, "Watch Spot run. Watch Spot run. Watch Spot run." Now >I like monosyllable sentences as much as the next three-year-old, but >I digress... obviously tastes differ, and everyone's mileage is going >to vary given their perspective. >
>Another important thing,aside from the opinions of humans, is >physical interface. Music tends to get made along the idiomatic lines >of the instruments and technology at hand. For instance, I have a >microtonal banjo, and the congenital character of the instrument >doesn't really lend itself to slowly sustained unfoldings--this was >also true of most of Partch's collection of plucked, strummed and >struck micromakers. I also have a fujara, and its design and >interface is as different from the microbanjo as the mouse's >heartrate is from the elephant's. The technology of the banjo and the >fujara suggest a metabolic makeup that would hardly recognize each >other... but the mouse and the elephant coexist and us humans are >crafty pantheists and stubborn creatures of habit ,and the music I >make with the fujara is no less obviously my music than the music I >make with the banjo. They both have to pass through me and my likes >and dislikes, abilities and disabilities and all the other >curiosities that take sounds out of the covert realm of the passive >event and into the chaotic world of overt human interaction;a sort of >multidimensional circus full of funny mirrors and magic tricks where >wonders never cease...
>
>--- In MakeMicroMusic@yahoogroups.com, Dave Seidel <dave@s...> wrote:
> >
>>I agree. Along with repetition, I think that the speed of the >> >>
>music can > >
>>also be a big factor, both literal tempo and rate of harmonic >> >>
>motion. I > >
>>think it's difficult to hear unaccustomed notes and harmonies if >> >>
>they go > >
>>by too fast. I've been doing a lot of slow stuff, partly for that >>reason, and also because I just like slow music. :-)
>>
>>- Dave
>>
>>---
>>Dave Seidel
>> [blog] http://superluminal.com/dave/weblog
>>[music] http://mysterybear.net
>>
>>
>>
>>Benjamin Shirley-Quirk wrote:
>> >>
>>>I'm convinced that the best way to convey microtonalities, >>> >>>
>especially > >
>>>to the uninitiated, is through repetition. Giving the audience >>> >>>
>enough > >
>>>time to set a new frame of reference equals good. otherwise they >>> >>>
>cant > >
>>>be sure that what they're hearing isn't just 'out of tune'
>>>
>>>-shirleyquirk
>>> >>>
>
>
>
>
>
>
> >Yahoo! Groups Links
>
>
>
> >
>
>
>
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

On Monday 21 February 2005 12:44 pm, Kraig Grady wrote:
> The only thing i would like to add to the thoughts below is that ,
> hopefully the endeavor in to microtones is something beyond just a
> comment on the material being used. This is not to disregard the quality
> of, let say, Just Intonation to allow a slower music than before, due to
> each moment being filled often with phenomenon that satisfies the ear.
> (I am sure other tunings have possibly similar qualities that might do
> the same). Nor should we forget that instruments developed along with
> the tunings that they used. But that a tuning will take on different
> qualities in different textures, something we have barely scratched the
> surface of.

Yes!!! elaborating on what you just said: different tunings have a different
threshold with regards to 'laying it on real thick', i.e. how many layers of
activity suit it.

Thought experiment: 6 layers of completely random and chromatic counterpoint
in 7-limit JI using slightly mellowed sawtooth waves vs. 6 layers of the same
in 13-tet. Then the same experiment using inharmonic timbres like
metallophones. Of course, these questions are wedded intimately to timbre, as
well as to what kinds of limitations we impose on rhythm and dynamics, etc.
It's easier to hear layers, too, when they are at different dynamic levels (a
good pianists voicing ability for example)

Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

hullo David,and I agree with you too actually,believe it or not. It
just irks me when a music as fully developed and original as Harry
Partch's is whacked down to the level of the sonic aesthete and
periodicity buzz junkie!to ues your Coltrane example,it's like
someone saying Giant Steps shouldn't be about chord changes because
they go by too quickly to assimilate! Some people make a big leap
into deep waters,and in these days of rampant conservatism I think
it's at least worth an effort to overstate this point least everyone
forget it's a possibility!

--- In MakeMicroMusic@yahoogroups.com, Dave Seidel <dave@s...> wrote:
> No argument, Daniel, I agree. I didn't mean to endorse any
particular
> approach as a universal way of writing *any* sort of music, let
alone
> microtonal music. It was just a subjective observation. It would
be no
> fun at all if all composers had the same approach. Every
instrument,
> has its own voice, and so does every composer.
>
> Of course, harmonic rhythm can be completely orthogonal to tempo
and
> texture. For example, banjos are really good at expressing
> rapidly-arpeggiated chordal patterns, and that's true whether those
> chords are changing quickly or slowly. So it's entirely possible
to
> have a slow harmonic rhythm with "fast" music, and plenty of banjo
music
> fits that description. Another example: the "clouds" in La Monte
> Young's and Michael Harrison's piano music -- very fast on a micro
> level, practically stationary on a macro level.
>
> But again, I'm not saying that music *ought* to be one way or
another,
> I'm just speculating that particularly for new ears, slowness on
some
> level can be useful in allowing new pathways to open in the
listener.
> On the other hand, repeated listening has the same effect. But the
> common factor is time. Most of us (including me) are too young to
have
> been around when Coltrane's Giant Steps first came out, but I'll
bet
> there was a significant proportion of listeners who really had to
play
> that record a few times before they "got" it.
>
> - Dave
>
>
> daniel_anthony_stearns wrote:
> >
> > Hello David and everybody, just a couple random thoughts.....
> >
> > I think the way we feel about music is tied much tighter to our
> > personal tastes than it is anything else. Personally I like music
> > that transcends its components and particulars. I know a lot of
folks
> > prefer slow,unfolding tone stimuli when it comes to microtoanlity
and
> > I'm aware that even a music as startlingly original and
transpotive
> > (to Partchland) as Harry Partch's has been criticized for
promoting
> > just intonation and then sending it all flying by at too rapid a
clip
> > to justify its usage. I understand but I don't agree. In fact,
it's
> > often been my experience that a lot of microcultists allow the
> > demonstration of the new tones to unfold in so deliberate and
> > unadorned a fashion that I feel as though I'm in the presence of
a
> > musical "Watch Spot run." Or,in the case of the
> > repetitionists, "Watch Spot run. Watch Spot run. Watch Spot run."
Now
> > I like monosyllable sentences as much as the next three-year-old,
but
> > I digress... obviously tastes differ, and everyone's mileage is
going
> > to vary given their perspective.
> >
> > Another important thing,aside from the opinions of humans, is
> > physical interface. Music tends to get made along the idiomatic
lines
> > of the instruments and technology at hand. For instance, I have a
> > microtonal banjo, and the congenital character of the instrument
> > doesn't really lend itself to slowly sustained unfoldings--this
was
> > also true of most of Partch's collection of plucked, strummed and
> > struck micromakers. I also have a fujara, and its design and
> > interface is as different from the microbanjo as the mouse's
> > heartrate is from the elephant's. The technology of the banjo and
the
> > fujara suggest a metabolic makeup that would hardly recognize
each
> > other... but the mouse and the elephant coexist and us humans are
> > crafty pantheists and stubborn creatures of habit ,and the music
I
> > make with the fujara is no less obviously my music than the music
I
> > make with the banjo. They both have to pass through me and my
likes
> > and dislikes, abilities and disabilities and all the other
> > curiosities that take sounds out of the covert realm of the
passive
> > event and into the chaotic world of overt human interaction;a
sort of
> > multidimensional circus full of funny mirrors and magic tricks
where
> > wonders never cease...
> >
> > --- In MakeMicroMusic@yahoogroups.com, Dave Seidel <dave@s...>
wrote:
> >
> >>I agree. Along with repetition, I think that the speed of the
> >
> > music can
> >
> >>also be a big factor, both literal tempo and rate of harmonic
> >
> > motion. I
> >
> >>think it's difficult to hear unaccustomed notes and harmonies if
> >
> > they go
> >
> >>by too fast. I've been doing a lot of slow stuff, partly for
that
> >>reason, and also because I just like slow music. :-)
> >>
> >>- Dave
> >>
> >>---
> >>Dave Seidel
> >> [blog] http://superluminal.com/dave/weblog
> >>[music] http://mysterybear.net
> >>
> >>
> >>
> >>Benjamin Shirley-Quirk wrote:
> >>
> >>>I'm convinced that the best way to convey microtonalities,
> >
> > especially
> >
> >>>to the uninitiated, is through repetition. Giving the audience
> >
> > enough
> >
> >>>time to set a new frame of reference equals good. otherwise
they
> >
> > cant
> >
> >>>be sure that what they're hearing isn't just 'out of tune'
> >>>
> >>>-shirleyquirk
> >
> >
> >
> >
> >
> >
> >
> >
> > Yahoo! Groups Links
> >
> >
> >
> >
> >
> >
> >
> >

Hu\llo Aaron! well actually I agree--"it's hard for me to quantify or
filter-by-rule, if you will, whether or not I will like something or
not based on whether it is repetitive or not." But I just can't agree
with the Partch JI dissenters.It seems narrow-minded way too
literalist to me. Partch knew what he was doing, and you can either
like it or dislike it, but if you question his means it's my opinion
that you better have some awfully strong art--as opposed to arguments-
-to back up your opposition. I'm actually not opposed to the use of
repetition of slowly unfolding texture based approaches,only to their
application above and beyond "good music",but even this is subjective
enough to be a useless objection,and one I use only hoping that I
somehow make it clear that I'm for any means so long as the end
result is a wild ride that transcends the need to dwell on the
innerworkings and methodology of the ride . BTW,I should've changed
the title of this thread as I now realize it might have seemed like I
was making some comment on your piece, which I wasn't because I
haven't heard it yet...sorry for any misunderstandings.

--- In MakeMicroMusic@yahoogroups.com, "Aaron K. Johnson"
<akjmicro@c...> wrote:
>
> Dan-
>
> I agree with some of your points, but I think I go beyond you in
saying that I
> think it's hard for me to quantify or filter-by-rule, if you will,
whether or
> not I will like something or not based on whether it is repetitive
or not.
> Besides, 'repetition' comes in so many subtle varieties it becomes
hard to
> define it. A set of variations is considered 'diverse repetition'.
If we are
> too strict about our standards, there go the Goldbergs!
>
> Re: Harry Partch I think there is something valid in the critique
that he used
> quick tempi and quick decay instruments, OTOH, he wrote some killer
music, so
> it doesn't matter in a way, and you still get the sense
of 'otherness' from
> it, so in a way I agree *and* disagree with you. Let those who
would critque
> Partch's method go their own way, and make their own engaging
music, even at
> snail's pace tempi...I'm all for sonic hypnosis.
>
> It might help us understand *precisely* what you are standing
for/against by
> naming names (if you are comfy with that) of specific
pieces/composers that
> you would condemn as being by a 'repetitionist' ;)
>
> Re: instruments and idiomatic writing, I believe that great music
has been
> written by composers who didn't particularly play the instrument at
all or at
> all well, that they wrote for. Often this leads to innovation of
that
> instrumental technique! Sibelius was a violinist who wrote some
engaging
> piano pieces (right now I'm learning the first Sonatina). And, you
have
> composers who tend to write abstractly (Bach comes to mind,
although it's a
> half-truth), and the lines work because they are conceived in a
more-or-less
> monochromatic fashion.
>
> Finally, I think all great music has a sense of transcending
it 'components
> and particulars'.....so I agree with that statement.
>
> -Aaron.
>
> On Monday 21 February 2005 11:19 am, daniel_anthony_stearns wrote:
> > Hello David and everybody, just a couple random thoughts.....
> >
> > I think the way we feel about music is tied much tighter to our
> > personal tastes than it is anything else. Personally I like music
> > that transcends its components and particulars. I know a lot of
folks
> > prefer slow,unfolding tone stimuli when it comes to microtoanlity
and
> > I'm aware that even a music as startlingly original and
transpotive
> > (to Partchland) as Harry Partch's has been criticized for
promoting
> > just intonation and then sending it all flying by at too rapid a
clip
> > to justify its usage. I understand but I don't agree. In fact,
it's
> > often been my experience that a lot of microcultists allow the
> > demonstration of the new tones to unfold in so deliberate and
> > unadorned a fashion that I feel as though I'm in the presence of a
> > musical "Watch Spot run." Or,in the case of the
> > repetitionists, "Watch Spot run. Watch Spot run. Watch Spot run."
Now
> > I like monosyllable sentences as much as the next three-year-old,
but
> > I digress... obviously tastes differ, and everyone's mileage is
going
> > to vary given their perspective.
> >
> > Another important thing,aside from the opinions of humans, is
> > physical interface. Music tends to get made along the idiomatic
lines
> > of the instruments and technology at hand. For instance, I have a
> > microtonal banjo, and the congenital character of the instrument
> > doesn't really lend itself to slowly sustained unfoldings--this
was
> > also true of most of Partch's collection of plucked, strummed and
> > struck micromakers. I also have a fujara, and its design and
> > interface is as different from the microbanjo as the mouse's
> > heartrate is from the elephant's. The technology of the banjo and
the
> > fujara suggest a metabolic makeup that would hardly recognize each
> > other... but the mouse and the elephant coexist and us humans are
> > crafty pantheists and stubborn creatures of habit ,and the music I
> > make with the fujara is no less obviously my music than the music
I
> > make with the banjo. They both have to pass through me and my
likes
> > and dislikes, abilities and disabilities and all the other
> > curiosities that take sounds out of the covert realm of the
passive
> > event and into the chaotic world of overt human interaction;a
sort of
> > multidimensional circus full of funny mirrors and magic tricks
where
> > wonders never cease...
> >
> > --- In MakeMicroMusic@yahoogroups.com, Dave Seidel <dave@s...>
wrote:
> > > I agree. Along with repetition, I think that the speed of the
> >
> > music can
> >
> > > also be a big factor, both literal tempo and rate of harmonic
> >
> > motion. I
> >
> > > think it's difficult to hear unaccustomed notes and harmonies if
> >
> > they go
> >
> > > by too fast. I've been doing a lot of slow stuff, partly for
that
> > > reason, and also because I just like slow music. :-)
> > >
> > > - Dave
> > >
> > > ---
> > > Dave Seidel
> > > [blog] http://superluminal.com/dave/weblog
> > > [music] http://mysterybear.net
> > >
> > > Benjamin Shirley-Quirk wrote:
> > > > I'm convinced that the best way to convey microtonalities,
> >
> > especially
> >
> > > > to the uninitiated, is through repetition. Giving the
audience
> >
> > enough
> >
> > > > time to set a new frame of reference equals good. otherwise
they
> >
> > cant
> >
> > > > be sure that what they're hearing isn't just 'out of tune'
> > > >
> > > > -shirleyquirk
> >
> >
> >
> > Yahoo! Groups Links
> >
> >
> >
>
> --
> Aaron Krister Johnson
> http://www.akjmusic.com
> http://www.dividebypi.com

daniel_anthony_stearns wrote:

>
> I think the way we feel about music is tied much tighter to our
> personal tastes than it is anything else. Personally I like music
> that transcends its components and particulars. This is related to a theme that has recently floated through the new music blogosphere, started by Kyle Gann, who set up an opposition between new music that was tonal, repetitive, meditative, process-oriented and music with much complexity, dissonance and noise, identifying each with generations of composers making, on their own terms, progressive moves (this is a weak paraphrase, but it'll do). I wrote a longer response to this elsewhere, but in short, it was that these characterizations were of surfaces, not of substance, and that any given surface texture can sustain content that is progressive/radical or conservative/reactionary; by my terms, both Mumma and Glass were, in 1969, radicals, while Roy Harris and Wuorinen were reactionaries. What the progressives/radicals have in common, whatever their surfaces, was the potential to tell us something new and substantial about music, its possibilities, its extent and limits, and perhaps even something about the world around that music. This surface fallacy is an old one. In many ways, the 4th and 7th symphonies of Sibelius are more deeply inventive than symphonic works of his more dissonant contemporaries. And technical innovations, in themselves, are never a source of depth, but rather new means for articulating that depth. (Innovation in orchestration came innevitably from opera, not from the symphony; the symphony was a form that was not about the orchestra, but about using the orchestra to articulate a form).

I just read something by Robert Bresson that relates, if you substitute "music" for "film": "Your film's beauty will not be in the images (postcardism) but in the ineffable that they will disengage."

DJW

On Wednesday 23 February 2005 01:27 am, Daniel Wolf wrote:

> This surface fallacy is an old one. In many ways, the 4th and 7th
> symphonies of Sibelius are more deeply inventive than symphonic works of
> his more dissonant contemporaries.

Absolutely true! (and BTW, I am a huge Sibelius fanatic)....do you know
Luonnatar?

I would love to hear an alternate-universe Sibelius JI piece, or 31-tet piece.
Maybe a David Cope-style computer program could pull that off?

Best,
Aaron Krister Johnson
http://www.akjmusic.com
http://www.dividebypi.com

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

> Hello fellow microtonalists,
>
> Here's an improvisation dated Feb 3rd, 2005,

Yeah, man! This is groovin'! Loved it & didn't expect any less from
you :) You really seem to have found your way around the tuning in
this improv very skillfully, in addition to the pure musicality of it.

> in a quasi-folk style, a
> harpsichord

I didn't know you had a harpsichord! :>)

> It's in Gene Ward Smith's "aaron" scale, which keep bearing fruit
for me.
>
> ! aaron.scl
> !
> Another 3 and 7 based scale. (GWS)
> 12
> !
> 28/27
> 9/8
> 7/6
> 9/7
> 4/3
> 49/36
> 3/2
> 14/9
> 12/7
> 7/4
> 49/27
> 2/1
>
> http://www.akjmusic.com/audio/lost_in_appalachia.ogg

I'll be talking more about these scales in a future tuning list post -
- stay "tuned" :) :)

--- In MakeMicroMusic@yahoogroups.com, Pete McRae
<petesfriedclams@s...> wrote:
>
> Dear Microtonalists,
>
> Two busted fingernails before the gig, and a 3:00 am noodle-fest
>later, may I present a new work-in-progress.
>
> I had thought about this back around the Turkey Day Post-election
>Blues, but the conversation about Kottke kind of kicked into high
>gear. What would Big Bill Broonzy do with this guitar? What would
>Bukka White say? Anyway, Fahey came to mind, and after I'd done it,
>I thought about gathering eggs before daylight and feeding the stock
>&c. and next thing I knew I was in
>
> Indiana ===> http://www.soundclick.com/bands/5/petemcraymusic.htm
>
> I hope you'll check it out...sorry it's so long, I actually cut the
>worst mistake, but left another one or two in, including missed
>opportunities improvisation-wise...

This was really enjoyable -- unpretentious exploration is always good
to hear, especially when there are this many excellent ingredients!
And the overall form works great, too. Keep it up and post more
clips, when you can :-) This sounded especially like "home" to me,
since as you may know, I've been improvising on guitar in open/drone
tuning on a daily basis . . . my soundclick examples are really out-
of-date now :(

--- In MakeMicroMusic@yahoogroups.com, Pete McRae
<petesfriedclams@s...> wrote:
> Hi Dave,
>
> Thanks!
>
> The guitar is fretted in the (3,6) 1 3 7 9 11 15 Eikosany with
>pigtails,
>
> www.anaphoria.com/dal.PDF and many thanks to Kraig Grady for the
incentive and assistance!
>
> The open strings are "D#" and "A#", or 7/6 and 7/4 of the scale, on
>C.

Yup, my acoustic guitar has all its open strings likewise tuned to
two notes a 3:2 apart (and octave-equivalents) most of the time these
days. I was pretty sure you did that too from the strum right in the
beginning of your piece.

So what *kind* of guitar is this? Sounds like an electric to me.

--- In MakeMicroMusic@yahoogroups.com, "Aaron K. Johnson"
<akjmicro@c...> wrote:
>
> Next on the Artistic Home's plate is 'Natural Affection', a dark
play by
> William Inge. I think my sound-track will be primarily neo-Monkian
abstract
> 12-tet jazz (unless anyone can point me to some tunings that do
typical jazz
> chords as well as 12-tet does---by typical I mean some of the more
dissonant
> types like altered chords, dominant sharp ninths, etc.). But in any
event,
> jazz of some sort or other it will be...

Why not use 72-tet? It will do everything 12-tet will and also allow
you to do some really "expressive intonation" (e.g., with a choice of
major/supermajor thirds that approximate 4:5, 64:81, 11:14, 7:9, or
even 10:13) and 11-limit harmonies.

--George

--- In MakeMicroMusic@yahoogroups.com, "George D. Secor"
<gdsecor@y...> wrote:
>
> --- In MakeMicroMusic@yahoogroups.com, "Aaron K. Johnson"
> <akjmicro@c...> wrote:
> >
> > Next on the Artistic Home's plate is 'Natural Affection', a dark
> play by
> > William Inge. I think my sound-track will be primarily neo-
Monkian
> abstract
> > 12-tet jazz (unless anyone can point me to some tunings that do
> typical jazz
> > chords as well as 12-tet does---by typical I mean some of the
more
> dissonant
> > types like altered chords, dominant sharp ninths, etc.). But in
any
> event,
> > jazz of some sort or other it will be...
>
> Why not use 72-tet? It will do everything 12-tet will and also
allow
> you to do some really "expressive intonation" (e.g., with a choice
of
> major/supermajor thirds that approximate 4:5, 64:81, 11:14, 7:9, or
> even 10:13) and 11-limit harmonies.
>
> --George

22-equal works great for altered chords (based on tritone
substitution) and dominant sharp ninths. Mmm . . . tasty and a little
extra consonant. But it's absolutely miserable for a 6/9 chord -- try
it! Yuck. If you're willing to dump the diatonic scale and some of
its native chords, I think you can come up with some good 22-equal
jazz. Some people even think I've done so . . .