justonic

Folks:

I spoke to the Justonic people they other day and they are sending me detailed
information- sounds interesting. Right now the software is available for
Windows only -a Mac version (which they say will have more bells and whistles
) is on the way. They say they have convinced Kurzweil to upgrade theie OS so
that notes can be retuned as they are being played- but other manufacturers
are not so easily convinced (and why are we not surprized!!!). Justonic's
solution is to build their own synthesizer which I have no information about at
this point-

=========================================================================
| Allen Strange |
| http://www.music.sjsu.edu/Music/strange.html |
|_______________________________________________________________________|
| Electro-Acoustic Music | International Computer Music Association |
| Studios | 2040 Polk St., Suite 330 |
| School of Music | San Francisco, CA 94109 |
| San Jose State University |VOX + (408) 395-2538 Fax + (408) 395-2648 |
| 1 Washington Square | Email: icma@sjsuvm1.sjsu.edu |
| San Jose, CA 95192-0095 | URL http://coos.darmouth.edu/~icma |
| Telephone +(408) 924-4646 | |
| Fax +(408) 924-4773 | We hope to see you at the ICMC97 |
| | in Thessaloniki, Greece |
| | http://alexandros.csd.auth.gr/~icmc97/ |
| | email:icmc97@alexandros.csd.auth.gr |
|=======================================================================|

Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl
with SMTP-OpenVMS via TCP/IP; Fri, 6 Dec 1996 11:15 +0100
Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA20384; Wed, 4 Dec 1996 03:10:01 +0100
Received: from eartha.mills.edu by ns (smtpxd); id XA17525
Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
for id SAA16470; Tue, 3 Dec 1996 18:09:58 -0800
Date: Tue, 3 Dec 1996 18:09:58 -0800
Message-Id: <199612040209.SAA03664@dnai.com>
Errors-To: madole@ella.mills.edu
Reply-To: tuning@eartha.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@eartha.mills.edu

Adam:

What you have described is a subset of a (1,3,5,7,9,11,13 diamond (or cross
set), and more specifically the 13 and /13 heptads. (Similar pairs of X-ads
from the diamond can be very interesting, Partch liked to contrast 8/7
Otonality with 7/4 Utonality (The Letter, and in Oedipus) as well as 16/11
O and 11/8 U. And of course the pair 1/1 O and 1/1 U makes an authentic
cadence - which HP also used: The Hell With It, I'm Going To Walk!)). Cross
sets can be made by multiplying any set of numbers by any other set of
numbers, and Partchian cross sets multiply a set (e.g. (1,3,5,7,9,11) by
its inversion (/1,/3,/5,/7,/9,/11). Cross sets like this are monotonal, in
that one central tone dominates, because the sets meet at 1 = 3/3 = 5/5 =
7/7 etc..

A CPS is a related way of working, but without having the central tone of
the diamond, instead, every tone of a CPS is the tonic of an implied
diamond.

Given a set of n factors, (1, .... n), all combinations of p factors yields
the CPS p(n - read as P out of N CPS. For example:

The set of 1 factor, taken in all combinations of 1 (1 out of 1CPS) has one
member, 1

The set of 2 factors (1,3), taken in all combinations of 1 (1 out of 2 CPS)
has two members, 1 and 3

The set of 2 factors (1,3), taken in all combinations of 2 (2 out of 2 CPS)
has one member, 1*3 = 3

Going on:

1(1,3,5) has three members: 1,3,5
2(1,3,5) has three members: 3,5,3*5
3(1,3,5) has one member: 1*3*5


So far, rather trivial, now try four factors:

1(1,3,5,7) has four members: 1,3,5,7
2(1,3,5,7) has six members; 1*3,1*5,1*7,3*5,3*7;5*7
3(1,3,5,7) has four members: 1*3*5, 1*3*7, 1*5*7, 3*5*7
4(1,3,5,7) has one member: 1*3*5*7

Clearly, the 2(1,3,5,7) genus has the most musical potential. This is what
Erv calls a HEXANY, and I recommend playing around with it closely, and
trying it with other sets of factors.

The next really useful CPS is the EIKOSANY which is a 3 out of 6 CPS with
20 members, and following this is the monster HEBDOMEKONTANY with 4 out of
8 factors and 70 members.

I have often used the EIKOSANIES 3(1,3,5,7,9,11) and 3(1,3,7,9,11,15) - the
latter gives a few more melodic possibilities without really diminishing
the harmonic resources. I have also tried the all prime sets
3(1,3,5,7,11,13) and 4(1,3,5,7,11,13,17,19) both of which are very
interesting.

The Eikosany 3(1,3, 5,7,9,11) I have used in the following arrangement,
taking 1*9*11 as the tonic (to work with these materials, it is hand to
write the scale out in terms of each possible tonic): (I am notating here
with 32/33 indicated as arrow down)

1*9*11 = 1/1 = C
3*5*7 = 35/33 = arrow down -7D
1*3*9 = 12/11 = arrow down D
1*5*11 = 10/9 = -D
3*7*11 = 7/6 = 7Eb
1*3*5 = 40/33 = arrow down -E
5*9*11 = 5/4 = -E
1*7*9 = 14/11 = arrow down 7F
1*3*11 = 4/3 = F
3*5*9 = 15/11 = arrow down -F#
1*5*7= 140/99 = arrow down -7G
3*9*11 = 3/2 = G
1*7*11 = 14/9 = 7Ab
5*7*9 = 35/22 = arrow down -7A
3*5*11 = 5/3 = -A
1*3*7 = 56/33 = arrow down 7Bb
7*9*11 = 7/4 = 7Bb
1*5*9 = 20/11 = arrow down -B
3*7*9 = 21/11 = arrow down 7C
5*7*11 = 35/18 = -7C

What is great about these structures is that all of the possible subsets
are musically interesting. There are plenty of hexanies embedded here, and
I am fond of the Dekanies (for example all the pitches with factor X, or
all the pitches without factor X).

I hope that this helps. Have some fun,

Dan

Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl
with SMTP-OpenVMS via TCP/IP; Fri, 6 Dec 1996 10:15 +0100
Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA21501; Thu, 5 Dec 1996 00:17:22 +0100
Received: from eartha.mills.edu by ns (smtpxd); id XA21551
Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
for id PAA09228; Wed, 4 Dec 1996 15:17:18 -0800
Date: Wed, 4 Dec 1996 15:17:18 -0800
Message-Id: <199612042316.PAA09175@eartha.mills.edu>
Errors-To: madole@ella.mills.edu
Reply-To: tuning@eartha.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@eartha.mills.edu

Adam,
I don't believe Mayumi Reinhard intended her scale as a "13-plane"
scale with some arbitrary omissions and additions; I think it has a
different derivation. Do the Reinhards care to comment?

As for CPS scales, I have a very good understanding of these after
discussions with John Chalmers, which led me to some discoveries on
multidimensional tilings after relating CPS to Euler genera. How do you see
the "13-plane" scale as related to the CPS concept? I don't see it, but that
doesn't mean it isn't there.

P.S. Don't consult Brian's posts for info on CPS, although these were
far less misleading than his recent post on group theory.


Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl
with SMTP-OpenVMS via TCP/IP; Fri, 3 Jan 1997 01:41 +0100
Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA01093; Fri, 3 Jan 1997 01:44:32 +0100
Received: from eartha.mills.edu by ns (smtpxd); id XA01091
Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
for id QAA13857; Thu, 2 Jan 1997 16:35:45 -0800
Date: Thu, 2 Jan 1997 16:35:45 -0800
Message-Id: <62970103003326/0005695065PK2EM@MCIMAIL.COM>
Errors-To: madole@ella.mills.edu
Reply-To: tuning@eartha.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@eartha.mills.edu

This morning, my linear algebra gave us an example about a cube whose
coordonates were (0,0,0)-(1,1,1)-(0,1,0)-...

Being a JI person, I thought about the Euler-Fokker genera Eu(3,5,7).
The cube on the chalkboard became 1 35/32 5/4 21/16 3/2 105/64 7/4 15/8
2, or in integers, 64 70 80 84 96 105 112 120 128. It remended me of the
"acoustic scale" formed by harmonics 8-16 :
1 9/8 5/4 11/8 3/2 13/8 7/4 15/8 2
64 72 80 88 96 104 112 120 128

I looked at the Eu(3,5,7) scale for a moment, trying to notate it a la
Ben Johnston.

Then I asked myself, could this be expressed as a CPS? The answer is
obviously yes. CPS3/6(1,1,1,3,5,7);1 (This is my notation for 3 factors
out of 6, with 1 as the tonic of the scale)

This means that the CPS are a generalisation of the Euler Fokker
generas.

I also found out that the familiar 1 9/8 5/4 4/3 3/2 5/3 15/8 2 is
CPS3/8(1,1,1,3,3,3,5);3.

Then the course got a little more interesting and I had to pay more
attention to vectors and cosines.

That's all for now!
-Kami

Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl
with SMTP-OpenVMS via TCP/IP; Mon, 13 Jan 1997 23:07 +0100
Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA07460; Mon, 13 Jan 1997 23:10:13 +0100
Received: from eartha.mills.edu by ns (smtpxd); id XA07444
Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
for id OAA11071; Mon, 13 Jan 1997 14:10:10 -0800
Date: Mon, 13 Jan 1997 14:10:10 -0800
Message-Id: <23970113220732/0005695065PK4EM@MCIMAIL.COM>
Errors-To: madole@mills.edu
Reply-To: tuning@eartha.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@eartha.mills.edu