commas of 41 equal temperament continued

Taking advantage of tempering out 3125:3072, 225:224, 100:99, and probably some more commas that don't come to mind, using 41 equal temperament.

http://soundcloud.com/cameron-bobro/gentlenessess-cbobro

--- In tuning@yahoogroups.com, "lobawad" <lobawad@...> wrote:
>
> Taking advantage of tempering out 3125:3072, 225:224, 100:99, and probably some more commas that don't come to mind, using 41 equal temperament.
>
> http://soundcloud.com/cameron-bobro/gentlenessess-cbobro

Could you give the scale explicitly? I'm not getting anything useful by googling "homalon".

--- In tuning@yahoogroups.com, "genewardsmith" <genewardsmith@...> wrote:
>
> --- In tuning@yahoogroups.com, "lobawad" <lobawad@> wrote:
> >
> > Taking advantage of tempering out 3125:3072, 225:224, 100:99, and probably some more commas that don't come to mind, using 41 equal temperament.
> >
> > http://soundcloud.com/cameron-bobro/gentlenessess-cbobro
>
> Could you give the scale explicitly? I'm not getting anything useful by googling "homalon".

"Diatonon homalon" is just Greek for "equable diatonic". In 41edo an equable diatonic tetrachord is 5 6 6 or 6 6 5, and an enharmonic tetrachord is 2 2 13 or 13 2 2. Right, Cameron? Not sure how they're combined into an overall scale here.

Keenan

--- In tuning@yahoogroups.com, "Keenan Pepper" <keenanpepper@...> wrote:

>
> "Diatonon homalon" is just Greek for "equable diatonic". In 41edo an equable diatonic tetrachord is 5 6 6 or 6 6 5, and an enharmonic tetrachord is 2 2 13 or 13 2 2. Right, Cameron? Not sure how they're combined into an overall scale here.
>
> Keenan
>

Yes, I used 5 6 6 and 2 2 13 degrees of 41-et for the equable and enharmonic tetrachords. There isn't really a "scale" per se, but a system of tetrachords. Largely it's simply the two kinds of tetrachords within two conjunct fourths, i.e. equable diatonic and enharmonic mixolydian. So the principal scales would be

12/11
6/5
4/3
16/11
8/5
16/9

and

32/31
16/15
4/3
128/93
64/45
16/9

The voices stick to these limited ranges, but they're set in different octaves, which works together to make something very un-ancient, which would scan as continual modulation in ancient terms, were ancient ears to get past the fact that in their terms it is 2-4 different pieces playing at the same time.

I usually do this kind of thing without tempering, but it is not a question of which is "better", the process and results are just different.