JI Composition

Someone asked if there is a general method of composition in JI.
I'm going to be lazy this morning and not look up the specific
quote.

Considering that JI composition has been going on for at least
centuries, probably millennia, and if you consider birdsongs and
such to be compositions, perhaps aeons, I would imagine there are
several established methods.

I have used a method based on least common multiples. Broadly
speaking, the smaller the least common multiple of a chord, the
more harmonious it sounds. The LCM of a diad with the ratio of
3:2 is 6. The LCM of major/minor triads is 60, etc.

My theory was that chords with smaller LCM's create patterns that
repeat in a shorter time. Paul E was kind enough to point out
that theory was not exactly accurate, in the way I was using it,
nevertheless, it seems to be of some use.

So now there is the 'pure LCM' theory and the 'modified LCM'
theory. I wrote a music sequencer, FasTrak, which uses the 'pure
LCM' theory. I hope to write another someday that uses both.

I believe FasTrak can still be downloaded by FTP from mmcky on
AOL. It requires an IBM pc and a basic sound blaster. It needs
to be run in DOS.

FasTrak comes with a bunch of utilities for analyzing JI scales
and creating chord sets that are useful for JI compositions.
These can be useful to someone studying JI no matter what the
composition environment.

On the subject of sampling and JI.

As sampling is usually implemented, the tuning accuracy of an
instrument may vary according to the particular sound being
reproduced. That is because samples of different lengths are
used for different instruments. In the world of
'transcendental/irrational' tunings, where approximations are all
that are available, this makes little difference, but for exact
JI, it is a severe drawback, IMHO.

The lack of tuning accuracy among current instruments, and the
lack of disclosure by synth manufacturer's of tuning accuracy
specs, makes the whole tuning discussion much more difficult than
it needs to be.

Marion

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> 12TET, ya gotta love it. Either 12TET is a detour to an entropic
>dead end, or it is a realized ideal. One person's Stairway to Heaven is
>another's Highway to Hell.

I suspect that the majority of us listers don't really hate 12TET as
much as that we're excited by myriads of other possibilities.

By the way, Ivor Darreg cited the same analogy to find the mood of
12TET, of the fish having to get out of the water before it can tell that
water even exists. He used that analogy though, with respect to all other
tunings: you can't fully appreciate any one without looking at them in
light of the others.

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