Re: [tuning] Digest Number 2381

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> ------------------------------------------------------------------------
>
> There are 12 messages in this issue.
>
> Topics in this digest:
>
> 1. Eikosany Tetrads
> From: Alison Monteith <alison.monteith3@which.net>
> 2. Re: audio applications
> From: Alison Monteith <alison.monteith3@which.net>
> 3. Re: audio applications
> From: "Jon Szanto <JSZANTO@ADNC.COM>" <JSZANTO@ADNC.COM>
> 4. Audacity and supercollider, free recorders
> From: Scot Gresham-Lancaster <tocs_back@yahoo.com>
> 5. Re: Re: audio applications
> From: Alison Monteith <alison.monteith3@which.net>
> 6. Re: Audacity and supercollider, free recorders
> From: Alison Monteith <alison.monteith3@which.net>
> 7. Re: Eikosany Tetrads
> From: "Carl Lumma <clumma@yahoo.com>" <clumma@yahoo.com>
> 8. Re: Re: Eikosany Tetrads
> From: Alison Monteith <alison.monteith3@which.net>
> 9. Re: Eikosany Tetrads
> From: "Carl Lumma <clumma@yahoo.com>" <clumma@yahoo.com>
> 10. Re: Audacity and supercollider, free recorders
> From: Michael McGonagle <fndsnd@rcnchicago.com>
> 11. bms concerts
> From: "jwerntz2002 <juliawerntz@attbi.com>" <juliawerntz@attbi.com>
> 12. Pure tuning methods
> From: "Gene Ward Smith <genewardsmith@juno.com>" <genewardsmith@juno.com>
>
> ________________________________________________________________________
> ________________________________________________________________________
>
> Message: 1
> Date: Sun, 12 Jan 2003 14:08:17 +0000
> From: Alison Monteith <alison.monteith3@which.net>
> Subject: Eikosany Tetrads
>
> Looking at Kraig's 'tree toad' article there's a section where alternate
> complete harmonic and subharmonic tetrads are formed.

This was the basis of the "Creation of the worlds" CD if you have it

> The harmonic ones
> I can see at at glance, eg : -

the easiest way is really to look at the lattice and see how the it is derived from the upside down 5 pointed
star
but in if you have to see it as factors......

>
>
> 3-5-11, 1-3-5, 3-5-7, 3-5-9 - by factoring out 3 and 5 you get 1 - 7 -
> 9 - 11.
>
> What I can't see at a glance is how the following gives a subharmonic
> tetrad : -
>
> 1-5-7, 5-7-9, 1-7-9, 1-5-9.

if you realise these all function as the subharmonic factors also you have

/3-9-11, /1-3-11, /3-5-11, /3-7-11 giving us a /9-1-5-7

you will also can notice out of the 4 original that the first term
does not have 9 and the others do
notice that the next does not have a 1
the next not a 5
the last not a 7

>
> Any clues as to how to spot the subharmonic tetrad from the CPS or do I
> have to go to the ratios and work it out from there?

the lattice is the easiest way by far as number crunching is just too distracting at this point of writing
music

>
>
> While I'm on I'd like to ask anyone who has worked with the Eikosany
> (Kraig mainly) if they find it easier to work at it thinking in terms of
> CPS, ie 1-3-5, etc. or by using note names ie, A, A+ etc. I find the
> former easier as with familiarity I get faster at seeing the common
> factors, but I'm wondering if it's a better investment of time to learn
> structures as named notes.

I wholly agree and after working with it i remembered what triad related to each note (completing the tetrad)
all by letter name. After a while each letter named note aquires a unique "personality" in that its relation
to the whole is never duplicated. the philosophical/political implications i quite enjoy

>
>
> Many thanks in anticipation
>
> Kind Regards
> a.m.

-- -Kraig Grady
North American Embassy of Anaphoria Island
http://www.anaphoria.com
The Wandering Medicine Show
KXLU 88.9 FM 8-9PM PST

Kraig Grady wrote:

>
>
> > From: Alison Monteith <alison.monteith3@which.net>
> > Subject: Eikosany Tetrads
> >
> > Looking at Kraig's 'tree toad' article there's a section where alternate
> > complete harmonic and subharmonic tetrads are formed.
>
> This was the basis of the "Creation of the worlds" CD if you have it

Not yet but I hope to soon.

>
> > The harmonic ones
> > I can see at at glance, eg : -
>
> the easiest way is really to look at the lattice and see how the it is derived from the upside down 5 pointed
> star
> but in if you have to see it as factors......
>
>
>
> > 3-5-11, 1-3-5, 3-5-7, 3-5-9 - by factoring out 3 and 5 you get 1 - 7 -
> > 9 - 11.
> >
> > What I can't see at a glance is how the following gives a subharmonic
> > tetrad : -
> >
> > 1-5-7, 5-7-9, 1-7-9, 1-5-9.
>
> if you realise these all function as the subharmonic factors also you have
>
> /3-9-11, /1-3-11, /3-5-11, /3-7-11 giving us a /9-1-5-7
>
> you will also can notice out of the 4 original that the first term
> does not have 9 and the others do
> notice that the next does not have a 1
> the next not a 5
> the last not a 7

Good - that's two methods. Most helpful.

>
> > Any clues as to how to spot the subharmonic tetrad from the CPS or do I
> > have to go to the ratios and work it out from there?
>
> the lattice is the easiest way by far as number crunching is just too distracting at this point of writing
> music
>

I'll use the lattice once I'm familiar with the resources. At the moment I have to look at the instrument as I
play which is why I'm trying to find mnemonics to help me recognise structures. I'm no percussionist though I
seem to play more percussion than anything else these days.

My steel tube marimba is quite a site and I'll post photos soon but one limiting factor is the enormous sustain,
like a permanently pedalled piano. The advantage is that the most unearthly sounds can be coaxed out from
underneath the fundamental harmony, as it were, while the partials whorl around. The disadvantage is that
playing fast is a problem unless I or another develops an effective damping technique. I'm considering some sort
of bar to damp the whole row of tubes at once. This will mean limited "bytes" of sound before the sustain gets
out of hand. With the help of an engineer I might try to mount the whole set up with a damper for each tube.
Nonetheless as an exciting timbre in the context of a larger percussion ensemble and for slowly evolving
harmonic textures the marimba is superb.

>
> > While I'm on I'd like to ask anyone who has worked with the Eikosany
> > (Kraig mainly) if they find it easier to work at it thinking in terms of
> > CPS, ie 1-3-5, etc. or by using note names ie, A, A+ etc. I find the
> > former easier as with familiarity I get faster at seeing the common
> > factors, but I'm wondering if it's a better investment of time to learn
> > structures as named notes.
>
> I wholly agree and after working with it i remembered what triad related to each note (completing the tetrad)
> all by letter name. After a while each letter named note aquires a unique "personality" in that its relation
> to the whole is never duplicated. the philosophical/political implications i quite enjoy

I'll bear this in mind as I progress. Many thanks.

Kind Regards
a.m.

>