16tet-chordal structures

I�ve been tuning up for Goldsmith's 16tet scale system,LLLsLLLLs(2/1) or sssLssL(3/2)in a simpler form.However i have no idea for what kind of harmonies to use as base for composition.The only decent approximations are 7/4 and 11/6(or 12/11),neither of which are enough to build a strong harmonic foundation.So what suggestions do you have for this?

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MATS �LJARE
http://www.angelfire.com/mo/oljare

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--- In tuning@y..., "Mats Öljare" <oljare@h...> wrote:
> I´ve been tuning up for Goldsmith's 16tet scale system,LLLsLLLLs
(2/1) or
> sssLssL(3/2)in a simpler form.However i have no idea for what kind
of
> harmonies to use as base for composition.The only decent
approximations are
> 7/4 and 11/6(or 12/11),neither of which are enough to build a
strong
> harmonic foundation.So what suggestions do you have for this?

Goldsmith himself used the 9-tone MOS as his "diatonic scale", while
if you omit two notes to get the 7-tone scale you mention you get
very close to a mode of the Pelog tuning. Goldsmith developed his
scale in conjunction with electronic timbres with inharmonic partials
(matching intervals of 16-tET). If you are unable to create timbres
with specific partial structures, though, you can just concentrate on
melody, as I've heard you do in some sections of some of your pieces
in the past. In any case, using some inharmonic timbre, like a gong
or kalimba sound, may help inspire you and get you past the ratio-
based thinking.

By the way, since you are such a prolific composer of microtonal
music, won't you consider joining the group

MakeMicroMusic@yahoogroups.com

I think you'll find yourself at home there (35 of us so far).

--- In tuning@yahoogroups.com, "Paul Erlich" <paul@...> wrote:
>
> --- In tuning@y..., "Mats Öljare" <oljare@h...> wrote:
> > I´ve been tuning up for Goldsmith's 16tet scale system,LLLsLLLLs
> (2/1) or
> > sssLssL(3/2)in a simpler form.However i have no idea for what
kind
> of
> > harmonies to use as base for composition.The only decent
> approximations are
> > 7/4 and 11/6(or 12/11),neither of which are enough to build a
> strong
> > harmonic foundation.So what suggestions do you have for this?
>
> Goldsmith himself used the 9-tone MOS as his "diatonic scale",
while
> if you omit two notes to get the 7-tone scale you mention you get
> very close to a mode of the Pelog tuning. Goldsmith developed his
> scale in conjunction with electronic timbres with inharmonic
partials
> (matching intervals of 16-tET). If you are unable to create timbres
> with specific partial structures, though, you can just concentrate
on
> melody, as I've heard you do in some sections of some of your
pieces
> in the past. In any case, using some inharmonic timbre, like a gong
> or kalimba sound, may help inspire you and get you past the ratio-
> based thinking.
>
> By the way, since you are such a prolific composer of microtonal
> music, won't you consider joining the group
>
> MakeMicroMusic@yahoogroups.com
>
> I think you'll find yourself at home there (35 of us so far).

From Robert. Some chords in 16tet which might have potential are
0-300-675 and 0-375-675 and 0-375-750.