Yahoo Tuning Groups Ultimate Backup tuning Topic 17

Hi i was wondering if anyone would like to comment on the Mode 17.

I have been using 17/17(1/1)17/16, 17/14, 17/13
in a scale with no 4/3 and have found some interesting territory in that region.I find when i start to use newer primes in scales I place them in a 12 note scale initially then some ratios take on a fulcrum like function depending on

1. their relationship to either Sa(1/1) or Pa(3/2)
2. their distance from the 2/1.

i also seem to immediately try to apply a 9/8 above a new prime to see its viability as a chord builder.
i would love to hear from anyone regarding the use of 17 as a chord or scale builder as i have re-invested my interest (from 31) back to 17 until 2001

cheers
enjoy that breeze

pagano

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🔗Afmmjr@aol.com

As a matter of fact, I have a piece called "Trespass" for soprano, violin,
viola, and cello that features what I call "Harmonic-17" tuning. The scale
is made up exclusively of ratios with a 17 or a multiple of 17 in any single
ratio. I will have to dig it out if you want the whole scale. And there is
also some use of quartertonal writing introducing it. The only performance
was in Amsterdam featuring Dorien Verheijden. The text is made up
exclusively of the first names of girls first names that I know from my work
as a music counselor in 1997.

Harry Partch did some work with 17 ratios which I found in a chart in
Enclosures 3. My experience is that it is a very harmonious and believable
array of notes that easily simulates traditional functional harmony.

At first, I thought the semitone importance of 17 (as noted early on by
Vincenzo Gallilei) would make the tuning pretty close to conventional tuning.
But no. It is exquisite. It's like 4-dimensional gems floating and moving.

Johnny Reinhard

🔗patrick pagano <ppagano@bellsouth.net>

Yes, please

i would love to compare scales.

one thing that seems to be a persistent question for me in my higher prime scales (higher that 5) are what to use for the major 6th (if not using a 5/3) and what to use as the Major 7th.

At Thu, 28 Sep 2000 11:54:36 EDT, you wrote:
>
>As a matter of fact, I have a piece called "Trespass" for soprano, violin,
>viola, and cello that features what I call "Harmonic-17" tuning. The scale
>is made up exclusively of ratios with a 17 or a multiple of 17 in any single
>ratio. I will have to dig it out if you want the whole scale. And there is
>also some use of quartertonal writing introducing it. The only performance
>was in Amsterdam featuring Dorien Verheijden. The text is made up
>exclusively of the first names of girls first names that I know from my work
>as a music counselor in 1997.
>
>Harry Partch did some work with 17 ratios which I found in a chart in
>Enclosures 3. My experience is that it is a very harmonious and believable
>array of notes that easily simulates traditional functional harmony.
>
>At first, I thought the semitone importance of 17 (as noted early on by
>Vincenzo Gallilei) would make the tuning pretty close to conventional tuning.
> But no. It is exquisite. It's like 4-dimensional gems floating and moving.
>
>
>Johnny Reinhard
>
>
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🔗David Beardsley <xouoxno@virtulink.com>

patrick pagano wrote:
>
> Hi i was wondering if anyone would like to comment on the Mode 17.

You turned me one to this last month, but when I first started
getting into JI, Johny Reinhard told about basing a scale
all on 13. I tried it and came up with a 45 minute set
of improvisations. I wonder if I still have the midi files...

I watched the Dream House this afternoon. Brand new rugs
and paint. Quite stunning really...

--
* D a v i d B e a r d s l e y
* 49/32 R a d i o "all microtonal, all the time"
* http://www.virtulink.com/immp/lookhere.htm