9 from 17tet(midi)

http://www.angelfire.com/mo/oljare/images/freelanc.mid
(unretuned raw 17-tet version on the page below)

"Free Lancer"uses a 9 from 17tet MOS of a kind that i like to call enharmonic,where the large interval is at least 3 times the size of the smaller.This scale uses the minor third as a generator and the stepsizes are 3 and 1 17-tet steps:

sLssLsLsL

The content is actually quite similar to the 12-tet diminished(octatonic,quadrasymmetrical)scale,but without the unstable sense of structure that comes with the repetitive symmetry.It provides an expressive blend of dissonance and consonance through the various colorful and neutral intervals which can be integrated with the melody in a complex harmony.The expressive potentials of this system is only touched upon with this simple piece.

The reason for chosing this particular mode(starting note)has to do with the harmonic properties.It has three fifths,each a minor third apart,and the fundamental for this scale becomes the"middle"of the three.The piece also uses other transpositions,moving by minor third steps(thus altering only 1 note each time).

Since a more detailed description of the(harmonic)properties of the scale is not my purpose with this post,you are welcome to leave your own suggestions-especially for how it could be tempered differently,that is using a slightly different(non-17tet)generator size.

There are also several other similar systems in 17tet and other equal tunings,which i am going to post descriptions and musical examples of in the near future.

-=-=-=-=-=-=-
MATS �LJARE
http://www.angelfire.com/mo/oljare
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.

Mats!
Interesting!-especially like the parts of more than one voice, when you could hear the
harmonies, i really wanted to hear more of that.
Thanks for drawing my attention to this one.
As i often use second layer MOS's i will probably look at the 17 MOS of 22 and then these 9 tone
scales.
But if i was going to use 17 ET i might try this
if you look here http://www.anaphoria.com/hrgm.PDF
and click on the horagram (8) lying between 3/13 and 1/4 you will also notice that there is a 13
tone MOS between the 9 and 17. So one could take this 13 tone subset and look at all the 9 tone
MOS's of that. There are some pelogs (the 5 tone MOS on this page) that get close to this although
the final small step might be too small. Wolf might know!

"Mats �ljare" wrote:

> http://www.angelfire.com/mo/oljare/images/freelanc.mid
> (unretuned raw 17-tet version on the page below)
>
> "Free Lancer"uses a 9 from 17tet MOS of a kind that i like to call
> enharmonic,where the large interval is at least 3 times the size of the
> smaller.This scale uses the minor third as a generator and the stepsizes are
> 3 and 1 17-tet steps:
>
> sLssLsLsL
>
> The content is actually quite similar to the 12-tet
> diminished(octatonic,quadrasymmetrical)scale,but without the unstable sense
> of structure that comes with the repetitive symmetry.It provides an
> expressive blend of dissonance and consonance through the various colorful
> and neutral intervals which can be integrated with the melody in a complex
> harmony.The expressive potentials of this system is only touched upon with
> this simple piece.
>
> The reason for chosing this particular mode(starting note)has to do with the
> harmonic properties.It has three fifths,each a minor third apart,and the
> fundamental for this scale becomes the"middle"of the three.The piece also
> uses other transpositions,moving by minor third steps(thus altering only 1
> note each time).
>
> Since a more detailed description of the(harmonic)properties of the scale is
> not my purpose with this post,you are welcome to leave your own
> suggestions-especially for how it could be tempered differently,that is
> using a slightly different(non-17tet)generator size.
>
> There are also several other similar systems in 17tet and other equal
> tunings,which i am going to post descriptions and musical examples of in the
> near future.
>
> -=-=-=-=-=-=-
> MATS �LJARE
> http://www.angelfire.com/mo/oljare
> _________________________________________________________________________
> Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
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-- Kraig Grady
North American Embassy of Anaphoria island
http://www.anaphoria.com

The Wandering Medicine Show
Wed. 8-9 KXLU 88.9 fm

--- In tuning@y..., "Mats Öljare" <oljare@h...> wrote:
> Since a more detailed description of the(harmonic)properties of the
scale is
> not my purpose with this post,you are welcome to leave your own
> suggestions-especially for how it could be tempered differently,that
is
> using a slightly different(non-17tet)generator size.

Hi Mats,

The only harmonically good generator I know of in that vicinity, that
won't _totally_ destroy the melodic properties, is the 271 cent
subminor third (approx 6:7). This is approximated as 5/22 oct and 7/31
oct. But the 9 tone MOS is then proper. If you want to keep it
improper, you can't bring the generator down below 277 c (3/13 oct),
nor can you take it above 300 c.

--- In tuning@y..., "Dave Keenan" <D.KEENAN@U...> wrote:
> --- In tuning@y..., "Mats Öljare" <oljare@h...> wrote:
> > Since a more detailed description of the(harmonic)properties of
the
> scale is
> > not my purpose with this post,you are welcome to leave your own
> > suggestions-especially for how it could be tempered
differently,that
> is
> > using a slightly different(non-17tet)generator size.
>
> Hi Mats,
>
> The only harmonically good generator I know of in that vicinity,
that
> won't _totally_ destroy the melodic properties, is the 271 cent
> subminor third (approx 6:7). This is approximated as 5/22 oct and
7/31
> oct. But the 9 tone MOS is then proper. If you want to keep it
> improper, you can't bring the generator down below 277 c (3/13
oct),
> nor can you take it above 300 c.

Hi Dave and Mats,

Forgive me if I'm missing something, but it strikes me as odd that
we'd use a predefined sense of "harmonically good" generator without
examining in detail the kinds of harmonies Mats is trying to use in
his piece. Mats, your own thoughts on this would probably be
essential here (since it's your piece).

-Paul