MOS for Monz (was Re: circle of fifths and where the half-steps are etc...

> From: "monz" <joemonz@yahoo.com>
> Subject: Re: Re: circle of fifths and where the half-steps are etc...
>
>
> > From: Robert C Valentine <BVAL@IIL.INTEL.COM>
> >
> > And only with the diatonic scale (at least the part
> > about only altering one tone to get to the next rotation)
> > (and yes, there are a few other MOS represented in 12,
> > the pentatonic for one...).
>
>
> can you give a list of several other 12-tone MOS ?

Well, here are some trees for octave periods...

12
7 5
5 2 5
3 2 2 3 2 pentatonic
2 1 2 2 2 1 2 diatonic

12
8 4
4 4 4 (# = b = 0!)

12
9 3
6 3 3
3 3 3 3 (# = b = 0!)

12
10 2
8 2 2
6 2 2 2 etc..., it will turn into whole tone.

12 is so divisible that most MOS turn out to be
ets of its subdivisors. But that also allows it to
be readilly harrassed on these as other periods

Note that I have a bit of a problem thinking this
way since the application of a # or b will alter
notes that are not octave equivalent. Whatever...

6
5 1
4 1 1 etc down to chromatic

4
3 1 the octave extended version (313131) is
sometimes called the augmented scale. Note
how a #/b turns it to (131313)
2 1 1 (this one looks sort of cool, 211211211)

3
2 1 the octave extended version (21212121) is
the diminished scale, apply a sharp and
it rotates 12121212

I guess thats it for 12.

>
> > But my comfort had come from playing with MOS in other
> > EDOs (on paper) and watching the same sort of system
> > pop out as diatonic mapped into 12. So it really was
> > coming from a different language and viewpoint even if
> > I thought it matched up with his "vision"
>
>
> ok, you got me interested. you've probably posted this
> kind of stuff before and i skipped it ... sorry. any
> examples of "MOS in other EDOs" you can give now?
> others may feel free to respond to this too.

Mats has been exploring this stuff with a lot more musical
output than I have. Certainly one of the most talked about
MOS in other EDOs here has been 'Blackjack' which in 72
is

252525252525252525252 (I would call a 21.10)

which is the child of the Miracle MOS (11.1)

77777777772 (again in 72)

Another well-discussed MOS is the neutral third scale
which I consider a 7.3. In 31 it's

5445454

which can be rationalized as

1/1 9/8 11/9 4/3 3/2 18/11 20/11 2/1

This is all part of the "search for a white note
scale" and I came to it mostly interested in octave
periods so that transposition would be very much
like the traditional diatonic.

So...

5445454 # = 5-4 = 1

goes to

5454454

An n.2 will rotate somewhere around the half octave,
like the traditional diatonic. An n.3 will rotate
somewhere near the third of an octave, which makes
the modulatory cycle fundamentally different in sound,
though similar in concept.

After grinding away at this stuff, I found that my
playing was much more modal than modulatory, and
that this feature may nbe less important than I;d
thought. We'll see when I have all 31 tones at my
disposal.

Another thing, in the same way that some of the
coolest things happen to the diatonic by applying
the # or flat to the "wrong note" (harmonic minor
and melodic minor as represented in 12 are exactly
this), this holds true for alterations of MOS in
other EDOs.

Paul has mentioned Pajara??? which in 31 is

5445544

an alteration of the 7.3 MOS. This may be a more
practical scale than its parent.

So any EDO can have a tree extended in this manner
and produce a variety of interesting and other
offspring. Lastly, I should abandon my notation (n.m)
since it is so unspecific (for instance, what is
larger and what is smaller).

Bob

>
> -monz

--- In tuning@y..., Robert C Valentine <BVAL@I...> wrote:

> Paul has mentioned Pajara??? which in 31 is
>
> 5445544
>
> an alteration of the 7.3 MOS.

how is that pajara? it's the arabic diatonic, as far as i can see.