New Zireen music page

I'm putting together a page with some examples of the Zireen music I've been playing with. There's nothing much there yet, but there are a few MIDI examples to illustrate some of the tunings.

http://www.io.com/~hmiller/music/zireen-music.html

Of particular interest is the Lemba example (http://www.io.com/~hmiller/music/ex/lemba.mid). This is a new tuning that I've been playing around with the last couple of weeks, identified by the wedgie [6, -2, -2, -17, -20, 1>. It's a half-octave repeating temperament with useful 10-note and 16-note MOS scales; the TOP tuning has a period of 601.7004928 cents and a generator of 230.8749260 cents. This MIDI file is a very rough draft, without any attention to note velocities or volume controllers (which it needs), but it should give a rough idea of some of the potential in this tuning. I was starting to get a feel for the 16-note Lemba scale when I tried this melody that I've had in the back of my mind for the last couple of years, and suddenly everything fell into place exactly as I'd been imagining it!

Also new is the pajara example (http://www.io.com/~hmiller/music/ex/telek.mid). Telek is the Zireen name for pajara temperament; this is another melody that I've had in my mind for a while and just recently got around to MIDIfying.

If you wonder why the kleismic example (http://www.io.com/~hmiller/music/ex/sinka.mid) starts with an ocarina solo, it's my Scarecrow Song from Ocarina of Time (the Zelda game). (The Scarecrow Song is an 8-note melody you make up and play it to one of the scarecrows in the game on your ocarina.) For all the time I tried writing Zireen music in kleismic[11], I don't have much in the way of MIDI files to show for it.

And you may have heard the superpelog and beep examples before, but here they are for completeness:
http://www.io.com/~hmiller/music/ex/mahali.mid
http://www.io.com/~hmiller/music/ex/hanaki.mid

--- In tuning@yahoogroups.com, Herman Miller <hmiller@I...> wrote:

> Of particular interest is the Lemba example
> (http://www.io.com/~hmiller/music/ex/lemba.mid). This is a new
tuning
> that I've been playing around with the last couple of weeks,
identified
> by the wedgie [6, -2, -2, -17, -20, 1>. It's a half-octave
repeating
> temperament with useful 10-note and 16-note MOS scales; the TOP
tuning
> has a period of 601.7004928 cents and a generator of 230.8749260
cents.

I can't listen now, but this is great news! I'll call it Lemba in my
paper (as you may already know, it's being included), but do you have
a system for naming the notes? If so, I can provide Lemba variations
of these 'standard' (Diatonic/Syntonic/Meantone) flora overlays:

http://tinyurl.com/2n8f3

http://tinyurl.com/2cacf

I'm going to Kerrville (TX) Folk Festival for the next 9 days, you
have plenty of time to think about it . . . :)

>For all the time I tried
> writing Zireen music in kleismic[11], I don't have much in the way
of
> MIDI files to show for it.

I've taken to calling the 5-limit kleismic system 'Hanson', after its
seeming discoverer Larry Hanson, but haven't decided on names for the
various 7-limit extensions yet . . .

wallyesterpaulrus wrote:

> I can't listen now, but this is great news! I'll call it Lemba in my > paper (as you may already know, it's being included), but do you have > a system for naming the notes? If so, I can provide Lemba variations > of these 'standard' (Diatonic/Syntonic/Meantone) flora overlays:

I've settled on a system based on 26-ET notation. Here's the basic 16-note scale:

0 3 6 1 4 7 2 5 0 3 6 1 4 7 2 5 0
A Ax B B# C CxDb D#Dx E ExF Fx G G# AbA
(Bbb)(Cbb) (Ebb) (Fb) (Gbb)

Small steps (-5 generators) are represented by a sharp and large steps (+3 generators) by a double sharp. The exception is the group of notes based on D# (there's no "D" in this system): (D#)# is simply written as Dx and (D#)bb is written as Db. I thought about just notating D# as D, but I doubt there's much point in going beyond 26 steps of this tuning, and writing it as D# makes it easier to remember.

This actually ends up being pretty easy to read (until you start getting into the enharmonic equivalents). The main melody of the example goes like this:

A-- B C E-- F Ex | E-- C----- D#-- | E----- C B# B | C-------

> I've taken to calling the 5-limit kleismic system 'Hanson', after its > seeming discoverer Larry Hanson, but haven't decided on names for the > various 7-limit extensions yet . . .

The one I've been using is the version with a 64/63 comma, with the wedgie [6, 5, 3, -6, -12, -7>.

--- In tuning@yahoogroups.com, "wallyesterpaulrus" <paul@s...> wrote:

> I've taken to calling the 5-limit kleismic system 'Hanson', after its
> seeming discoverer Larry Hanson, but haven't decided on names for the
> various 7-limit extensions yet . . .

I really which you would not dismiss the idea of having 7-limit names
correspond to 5-limit names with the same or similar generators. You
are going to create a terminological mess, and there's no reason for it.

--- In tuning@yahoogroups.com, "Gene Ward Smith" <gwsmith@s...> wrote:
> --- In tuning@yahoogroups.com, "wallyesterpaulrus" <paul@s...>
wrote:
>
> > I've taken to calling the 5-limit kleismic system 'Hanson', after
its
> > seeming discoverer Larry Hanson, but haven't decided on names for
the
> > various 7-limit extensions yet . . .
>
> I really which you would not dismiss the idea of having 7-limit
names
> correspond to 5-limit names with the same or similar generators. You
> are going to create a terminological mess, and there's no reason
>for it.

The true mess will arise when there are borderline cases and you have
to make up arbitrary rules to settle them.

--- In tuning@yahoogroups.com, "wallyesterpaulrus" <paul@s...> wrote:

> > I really which you would not dismiss the idea of having 7-limit
> names
> > correspond to 5-limit names with the same or similar generators.
You
> > are going to create a terminological mess, and there's no reason
> >for it.
>
> The true mess will arise when there are borderline cases and you
have
> to make up arbitrary rules to settle them.

There aren't many of those. The worst problem, two kinds of 11-limit
meantone, does not even arise in a 7-limit context.

--- In tuning@yahoogroups.com, "Gene Ward Smith" <gwsmith@s...> wrote:
> --- In tuning@yahoogroups.com, "wallyesterpaulrus" <paul@s...>
wrote:
>
> > > I really which you would not dismiss the idea of having 7-limit
> > names
> > > correspond to 5-limit names with the same or similar
generators.
> You
> > > are going to create a terminological mess, and there's no
reason
> > >for it.
> >
> > The true mess will arise when there are borderline cases and you
> have
> > to make up arbitrary rules to settle them.
>
> There aren't many of those.

Hi, I just got back from Texas.

Anyway, if you give me your proposed names for the 21 5-limit and 29
7-limit temperaments that will be in my paper, as discussed on tuning-
math, I'll be happy to consider them in as positive a light as
possible. Still, I'll be very pleasantly surprised if there aren't a
large number of contestable choices, even within this restricted
sample.

-P