New Scala version

Scala version 1.7 for Windows 9x/NT is now online, the file is:

http://www.xs4all.nl/~huygensf/software/scala17win.zip

The new homepage is http://www.xs4all.nl/~huygensf/scala/

Scala is a very complete freeware editor/librarian/analysis tool for
tunings. It allows scales to be created, manipulated and combined in
many different ways. A large library of scales is available for it. It
can tune various different synthesizers and samplers via standard
MIDI-files. To install, unpack scala17win.zip in an empty directory and
read the readme.txt file.
After startup, HELP shows the commands, and @HELP creates a window
with the help text.

Version 1.7 is an update with about 8% more functionality than 1.6.
Some bugs have been fixed.

Some of its new features:

- Some new notation systems were added.
- Some new keyboard mappings were added.
- Some new pitch attributes were added, among which Harmonic Entropy.
- A command for finding occurrences of chords in a scale, from a list of
chords. A list with more than 200 is also included.
- The LATTICE command can now make use of note names.
- The APPROXIMATE/WEIGHTED command can now use any pitch attribute function
for scale approximation by just intervals.
- A stellated CPS can be created.
- The path of a ratio in the Stern-Brocot tree can be displayed.
- The command SHOW DATA shows a few more properties.
- A scale can be tempered for improving the number of consonant intervals
in the scale.
- The mode and interval lists were expanded and some tips added.

Below is the list of commands that are new in this version:

Chords/All_Show
Chords/Cents_Show
Chords/Match
Cps/Corner/Scale
Cps/Expanded/Scale
Cps/Scale
Cps/Stellated
Cps/Stellated/Factor
Cps/Stellated/Primes
Cps/Stellated/Scale
Cps/Superstellated
Cps/Superstellated/Factor
Cps/Superstellated/Primes
Cps/Superstellated/Scale
Egalize/Model
Farey/Minimax
Lattice/Notation
Load/Chord
Load/Chord/All
Mode/Equal
Pipedum/Scale
Pipedum/Tetra/Scale
Pipedum/Vertices/Scale
Ratio/Farey/Constrained
Ratio/Stern
Show/Sorted Transpose
Stretch/Match
Subtract/Mediant

Thanks to Heinz Bohlen, Darren Burgess, Christopher Chapman, Paul Erlich,
Dave Keenan, Carl Lumma, Herman Miller, Joe Monzo, Kees van Prooijen and
Robert Walker.

The Linux version will follow soon.

If a Mac-owner with some technical expertise is willing to make a port of
Scala, he or she is still welcome. The tool needed is GNAT for Macintosh,
see http://www.adapower.com/lab/macos/
I'll provide help via e-mail. There are a lot of people who wanted a Mac
version but nobody yet to make it.

Manuel Op de Coul coul@ezh.nl

Hi Manuel!

Did you see the 41-tone periodicity block I posted for Justin White
recently? Would it be easy to get Scala to show all the otonal chords in the
scale, and which identities each chord contained?

-Paul

Paul wrote:
>Did you see the 41-tone periodicity block I posted for Justin White
>recently? Would it be easy to get Scala to show all the otonal chords in
the
>scale, and which identities each chord contained?

Yes, I've saved your scale in the archive. The "periodicity block morphing"
process you did by hand is still on my wish-list of things to write a
routine
for. If we take this set to investigate:

3:4:5 Major Triad 2nd inversion
3:5:7 BP Major Triad
4:5:6 Major Triad
4:5:6:7 Dominant Seventh "7"
4:5:6:7:9 Dominant Ninth "9"
4:5:6:9 Added Ninth "add9"
5:6:7:9 Half-diminished Seventh
5:6:8 Neapolitan Sixth, Major Triad 1st inversion
5:7:9 BP Minor Triad
5:7:9:12 Tristan Chord, Half-diminished Seventh
6:7:9 Subminor Triad
7:9:15 BP Major Triad 2nd inversion
8:10:12:15 Major Seventh "*" "maj7"
8:10:12:15:18 Major Ninth "maj9"

The result is, ignoring any approximations, sorry for the length:
0-17-30: Major Triad 2nd inversion
C-F-A\
0-13-24: Major Triad
C-E\-G
0-13-24-33: Dominant Seventh "7"
C-E\-G-A//
0-13-24-33-48: Dominant Ninth "9"
C-E\-G-A//-D
0-13-24-48: Added Ninth "add9"
C-E\-G-D
0-11-20-35: Half-diminished Seventh
C-D#-Gb-A#
0-11-28: Neapolitan Sixth, Major Triad 1st inversion
C-D#-G#
0-20-35: BP Minor Triad
C-Gb-A#
0-20-35-52: Tristan Chord, Half-diminished Seventh
C-Gb-A#-D#
0-15-45: BP Major Triad 2nd inversion
C-E/-C#
3-20-33: Major Triad 2nd inversion
Db-Gb-A//
3-33-53: BP Major Triad
Db-A//-D#/
3-16-27: Major Triad
Db-F\-Ab
3-12-27: Subminor Triad
Db-D#/-Ab
4-15-32: Neapolitan Sixth, Major Triad 1st inversion
C#-E/-A/
5-16-33: Neapolitan Sixth, Major Triad 1st inversion
C#/-F\-A//
6-17-26-41: Half-diminished Seventh
D\-F-G//-C
6-17-34: Neapolitan Sixth, Major Triad 1st inversion
D\-F-Bb
6-26-41: BP Minor Triad
D\-G//-C
6-26-41-58: Tristan Chord, Half-diminished Seventh
D\-G//-C-F
7-16-31: Subminor Triad
D-F\-A
8-21-32: Major Triad
D/-F#-A/
8-21-32-41: Dominant Seventh "7"
D/-F#-A/-C
8-21-32-41-56: Dominant Ninth "9"
D/-F#-A/-C-E/
8-21-32-56: Added Ninth "add9"
D/-F#-A/-E/
8-17-32: Subminor Triad
D/-F-A/
8-21-32-45: Major Seventh "*" "maj7"
D/-F#-A/-C#
8-21-32-45-56: Major Ninth "maj9"
D/-F#-A/-C#-E/
10-40-60: BP Major Triad
Eb-C\-F//
11-28-41: Major Triad 2nd inversion
D#-G#-C
11-41-61: BP Major Triad
D#-C-Gb
11-24-35: Major Triad
D#-G-A#
11-24-35-44: Dominant Seventh "7"
D#-G-A#-Db
11-20-35: Subminor Triad
D#-Gb-A#
11-24-35-48: Major Seventh "*" "maj7"
D#-G-A#-D
12-27-57: BP Major Triad 2nd inversion
D#/-Ab-F\
13-24-33-48: Half-diminished Seventh
E\-G-A//-D
13-24-41: Neapolitan Sixth, Major Triad 1st inversion
E\-G-C
13-33-48: BP Minor Triad
E\-A//-D
13-33-48-65: Tristan Chord, Half-diminished Seventh
E\-A//-D-G
14-29-59: BP Major Triad 2nd inversion
E-G#/-F/
15-32-45: Major Triad 2nd inversion
E/-A/-C#
15-45-65: BP Major Triad
E/-C#-G
16-33-46: Major Triad 2nd inversion
F\-A//-C#/
16-46-66: BP Major Triad
F\-C#/-G/
16-27-44: Neapolitan Sixth, Major Triad 1st inversion
F\-Ab-Db
17-34-47: Major Triad 2nd inversion
F-Bb-D\
17-47-67: BP Major Triad
F-D\-G//
17-30-41: Major Triad
F-A\-C
17-30-41-65: Added Ninth "add9"
F-A\-C-G
17-26-41: Subminor Triad
F-G//-C
17-32-62: BP Major Triad 2nd inversion
F-A/-F#
17-30-41-54: Major Seventh "*" "maj7"
F-A\-C-E\
17-30-41-54-65: Major Ninth "maj9"
F-A\-C-E\-G
20-33-44: Major Triad
Gb-A//-Db
20-33-44-53: Dominant Seventh "7"
Gb-A//-Db-D#/
20-33-44-53-68: Dominant Ninth "9"
Gb-A//-Db-D#/-Ab
20-33-44-68: Added Ninth "add9"
Gb-A//-Db-Ab
20-35-65: BP Major Triad 2nd inversion
Gb-A#-G
20-33-44-57: Major Seventh "*" "maj7"
Gb-A//-Db-F\
20-33-44-57-68: Major Ninth "maj9"
Gb-A//-Db-F\-Ab
21-32-41-56: Half-diminished Seventh
F#-A/-C-E/
21-32-49: Neapolitan Sixth, Major Triad 1st inversion
F#-A/-D/
21-41-56: BP Minor Triad
F#-C-E/
21-41-56-73: Tristan Chord, Half-diminished Seventh
F#-C-E/-A/
21-30-45: Subminor Triad
F#-A\-C#
24-41-54: Major Triad 2nd inversion
G-C-E\
24-54-74: BP Major Triad
G-E\-A//
24-35-52: Neapolitan Sixth, Major Triad 1st inversion
G-A#-D#
24-33-48: Subminor Triad
G-A//-D
26-41-71: BP Major Triad 2nd inversion
G//-C-A\
27-44-57: Major Triad 2nd inversion
Ab-Db-F\
28-41-52: Major Triad
G#-C-D#
28-41-52-61: Dominant Seventh "7"
G#-C-D#-Gb
28-41-52-61-76: Dominant Ninth "9"
G#-C-D#-Gb-A#
28-41-52-76: Added Ninth "add9"
G#-C-D#-A#
28-41-52-65: Major Seventh "*" "maj7"
G#-C-D#-G
28-41-52-65-76: Major Ninth "maj9"
G#-C-D#-G-A#
29-59-79: BP Major Triad
G#/-F/-B
30-41-58: Neapolitan Sixth, Major Triad 1st inversion
A\-C-F
32-49-62: Major Triad 2nd inversion
A/-D/-F#
32-62-82: BP Major Triad
A/-F#-C
32-45-56: Major Triad
A/-C#-E/
32-45-56-65: Dominant Seventh "7"
A/-C#-E/-G
32-41-56: Subminor Triad
A/-C-E/
33-46-57: Major Triad
A//-C#/-F\
33-46-57-66: Dominant Seventh "7"
A//-C#/-F\-G/
33-44-53-68: Half-diminished Seventh
A//-Db-D#/-Ab
33-44-61: Neapolitan Sixth, Major Triad 1st inversion
A//-Db-Gb
33-53-68: BP Minor Triad
A//-D#/-Ab
33-53-68-85: Tristan Chord, Half-diminished Seventh
A//-D#/-Ab-Db
34-47-58: Major Triad
Bb-D\-F
34-47-58-67: Dominant Seventh "7"
Bb-D\-F-G//
34-47-58-67-82: Dominant Ninth "9"
Bb-D\-F-G//-C
34-47-58-82: Added Ninth "add9"
Bb-D\-F-C
34-47-58-71: Major Seventh "*" "maj7"
Bb-D\-F-A\
34-47-58-71-82: Major Ninth "maj9"
Bb-D\-F-A\-C
35-52-65: Major Triad 2nd inversion
A#-D#-G
35-65-85: BP Major Triad
A#-G-Db
36-51-81: BP Major Triad 2nd inversion
A#/-Eb-C\
Total of 100

Manuel Op de Coul coul@eon-benelux.com

--- In tuning@egroups.com, <manuel.op.de.coul@e...> wrote:
>
> Paul wrote:
> >Did you see the 41-tone periodicity block I posted for Justin White
> >recently? Would it be easy to get Scala to show all the otonal
chords in
> the
> >scale, and which identities each chord contained?
>
> Yes, I've saved your scale in the archive. The "periodicity block
morphing"
> process you did by hand is still on my wish-list of things to write
a
> routine
> for.

Yes, well, me too (it took a while and I don't know if it's "best")

>If we take this set to investigate:

Manuel, what I was thinking was a Partch-like table of the otonal
identities, but though 13, available taking each note as the 1. For
example, the list would begin

1 3 5 7 9 11 13
1/1 3/2 5/4 7/4 9/8 11/8 13/8
65/64 --- --- --- --- ---- ----
33/32 --- --- --- --- ---- ----
21/20 63/40 21/16 --- --- ---- ----

etc.

Then this should be what you want. I printed the interval matrix
(SH/LI INT) and edited it by hand. I marked the otonal identities
with a '+'. Hoping that the lines aren't wrapped.

=> 1/1 : 65/64 33/32 21/20 15/14 35/32 10/9 +9/8 8/7
65/56 33/28 6/5 49/40 +5/4 91/72 9/7 21/16 4/3
65/48 +11/8 7/5 10/7 35/24 77/52 +3/2 49/32 14/9
63/40 8/5 +13/8 5/3 27/16 12/7 +7/4 16/9 9/5
11/6 13/7 91/48 77/40 55/28 2/1
=> 3/2 : 49/48 28/27 21/20 16/15 13/12 10/9 +9/8 8/7
7/6 32/27 6/5 11/9 +26/21 91/72 77/60 55/42 4/3
65/48 +11/8 7/5 10/7 35/24 40/27 +3/2 32/21 65/42
11/7 8/5 +49/30 5/3 91/54 12/7 +7/4 16/9 65/36
11/6 28/15 40/21 35/18 77/39 2/1
=> 5/4 : 91/90 36/35 21/20 16/15 13/12 11/10 +28/25 8/7
7/6 77/65 6/5 49/40 +56/45 63/50 32/25 13/10 4/3
27/20 +48/35 7/5 64/45 36/25 22/15 +52/35 91/60 77/50
11/7 8/5 +13/8 33/20 42/25 12/7 +7/4 16/9 9/5
64/35 13/7 66/35 48/25 49/25 2/1
=> 7/4 : 64/63 36/35 22/21 52/49 13/12 11/10 +55/49 8/7
65/56 33/28 6/5 60/49 +5/4 80/63 9/7 64/49 65/49
66/49 +48/35 7/5 10/7 13/9 72/49 +3/2 32/21 65/42
11/7 8/5 +80/49 5/3 22/13 12/7 +7/4 16/9 9/5
64/35 13/7 40/21 27/14 96/49 2/1
=> 9/8 : 64/63 65/63 22/21 16/15 49/45 10/9 +91/81 8/7
7/6 32/27 65/54 11/9 +56/45 80/63 35/27 154/117 4/3
49/36 +112/81 7/5 64/45 13/9 40/27 +3/2 32/21 14/9
128/81 8/5 +44/27 104/63 91/54 77/45 +110/63 16/9 65/36
11/6 28/15 40/21 35/18 160/81 2/1
=> 11/8: 56/55 80/77 35/33 14/13 12/11 49/44 +112/99 63/55
64/55 13/11 40/33 27/22 +96/77 14/11 128/99 72/55 4/3
104/77 +91/66 7/5 10/7 16/11 65/44 +3/2 84/55 120/77
35/22 160/99 +18/11 128/77 130/77 12/7 +96/55 98/55 20/11
182/99 144/77 21/11 64/33 65/33 2/1
=> 13/8: 40/39 27/26 96/91 14/13 128/117 72/65 +44/39 8/7
7/6 77/65 110/91 16/13 +5/4 33/26 84/65 120/91 35/26
160/117+18/13 128/91 10/7 132/91 96/65 +98/65 20/13 14/9
144/91 21/13 +64/39 5/3 22/13 112/65 +160/91 70/39 308/169
24/13 49/26 224/117 126/65 128/65 2/1

Manuel

--- In tuning@egroups.com, <manuel.op.de.coul@e...> wrote:

> Hoping that the lines aren't wrapped.

They are. I guess the transpose of this matrix would correspond to
the way I started writing it, and wouldn't wrap, right?

Actually, Manuel, I don't understand your output at all. Where is this
beginning I posted:

1 3 5 7 9 11 13
1/1 3/2 5/4 7/4 9/8 11/8 13/8
65/64 --- --- --- --- ---- ----
33/32 --- --- --- --- ---- ----
21/20 63/40 21/16 --- --- ---- ----

? How can I use it to see which identities are present over which roots?
Help! (I was expecting 41 rows, corresponding to 41 possible roots, and 7
columns, indicating the presence or absence of each of the 7 identities over
each root.

>Actually, Manuel, I don't understand your output at all. Where is this
>beginning I posted:

Oh, now it's clear. I thought you wanted the selection from the interval
matrix the opposite way. It makes more sense now, sorry for the confusion.

Manuel