JI modes

> ----------------------------------------------------------------------
>
> Topic No. 1
>
> Date: Fri, 9 May 1997 12:55:14 -0400 (EDT)
> From: DFinnamore@aol.com
> To: tuning@ella.mills.edu (multiplerecipientsoflist)
> Subject: RE: Why x-ET?

> heart-stopping in-tune-ness. The first time I played with a Phrygian JI
> scale I had distilled from a series of
> prime-number-series-numerator-over-power-of-two-denominator ratios (there's
> probably a more concise and standard way to indicate that - hopefully you get
> the drift) I had chills for a week. I had the feeling that it was prompting
> some sort of "life-force" to well up within me.

> The scale I referred to runs thusly: 1:1 (no kidding!), 17:16, 19:16, 4:3,
> 3:2, 51:32, 57:32. I put the 57:32 on note #11 and add 7:4 on note #10 so I
> can throw that shocker in where appropriate. The note numbers refer to a 12t
> keyboard. I found that harp or other ringing plucked-string sounds tend to
> draw a good vibe out of this scale.

What is the term Phrygian JI scale ? I presume David that you mean a mode
that begins on the third degree of a JI scale (I looked for confirmation
in Doty's primer to no avail and my past experience of the terms dorian
phrygian lydian is based on 12-TET where each of these modes is an octave
of white notes starting on D, E, F and so on). I was unaware that these
terms still apply in the world of JI.

BTW, Doty's book is wonderful. Manuel's Scala program too. Through Csound,
I am at last able to build on the theoretical input of people on this
list by experiencing the physical reality of the tuning itself.

Greg S

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On Fri, 9 May 1997, Mark Nowitzky wrote:

> >BTW, if anyone is interested in the DOS scripts for edit & make, is there
> >a site where these could be left ?
>
> I'd be happy to keep what you got at my site. Email it to me, and I'll set
> up a special page for it or something.

Great. I'll be able to do that later in the week. In the mean time, I'll
need to get a read.me file together to make it worthwhile.

I'll also include a set of Csound tuning demonstration files which specify
tuning as part of the orchestra file, rather than the score file. This
makes it possible to avoid using octave & (12) pitch classes to represent
scales other than 12, both equal and non equal.

Greg S

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Message written at 13 May 1997 10:18:20 +0100
In-reply-to:
(message from Greg Schiemer on Sun, 11 May 1997 22:29:02 +0000)

>>>>> "Greg" Greg Schiemer writes:

Greg> I'll also include a set of Csound tuning demonstration files which specify
Greg> tuning as part of the orchestra file, rather than the score file. This
Greg> makes it possible to avoid using octave & (12) pitch classes to represent
Greg> scales other than 12, both equal and non equal.

Csound contains operators for dealing with any equally divided scale,
repeating at any interval in teh score; it also has facilities for
handling non-equal scales at any repeat interval. This has been there
for a long time now. Look at cpsxpch.
ohn

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