Yahoo Tuning Groups Ultimate Backup tuning Re: [tuning] Digest Number 3663

> From: "Jon Szanto" <jszanto@cox.net>
> 12. Re: Re: New lurker
> From: Magnus Jonsson <magnus@smartelectronix.com>
> 13. Re: New lurker
> From: "Jon Szanto" <jszanto@cox.net>
> 14. Diatonic circle of thirds
> From: "Gene Ward Smith" <gwsmith@svpal.org>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 1 > Date: Sun, 11 Sep 2005 15:15:55 +0100
> From: Charles Lucy <lucy@harmonics.com>
>Subject: English bells and tuning.
>
>In my continuing research to understand Harrison's writings about >bell design and manufacturing, last week I tracked down and videoed a >set of church bells in Great Coates, near Grimsby Lincolnshire. I >beam in the belfry is inscribed "James Harrison 1759".
>
>It seems that this James was the brother of John "Longitude", and >these bells were hung about 15 years before Harrison's final >manuscript on the manufacturing methods for bells was written.
>
>
>On Saturday I went to an interesting event in Newbury England, to >learn more about the manufacturing and tuning of traditional church >bells.
>
>http://www.ringingroadshow2005.org.uk/
>
>There are now two main bell foundries remaining in England;
>
>http://www.whitechapelbellfoundry.co.uk/
>http://www.taylorbells.co.uk/
>
>
>I also met Nigel Taylor from Whitechapel, who seems to be the main UK >authority on their tuning.
>His site explains how he thinks about tuning and gives some insights >into the tuning methods he uses.
>
>http://www.kirnberger.fsnet.co.uk/
>
>I hope to learn more by meeting with representatives from both >foundries to explore the details of Harrison's last manuscript, and >discover more about what his instructions may mean.
>
>
>Charles Lucy - lucy@harmonics.com
>------------ Promoting global harmony through LucyTuning -------
>for information on LucyTuning go to: http://www.lucytune.com
>for LucyTuned Lullabies go to http://www.lullabies.co.uk
>Buy/download/CD from: http://www.cdbaby.com/cd/lucytuned2
>
>
>
>
>[This message contained attachments]
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 2 > Date: Sun, 11 Sep 2005 14:22:39 -0000
> From: "Cris Forster" <cris.forster@comcast.net>
>Subject: Re: To Mr. Ozan Yarman -- A Respectful Request
>
>Dear Ozan Yarman,
>
>Thank you kindly for the inclusion of >
>"ï¿½Cris Forster'in sitesi:ï¿½"
>
>in your Footnote 22 below:
>
>******************************
>
>[Footnote]
>
>22 Al-Farabi'nin binyÄ±ldan ï¿½nce verdiÄŸi aralÄ±klara bakÄ±ldÄ±ÄŸÄ±nda, >mï¿½cenneb'in kï¿½ï¿½ï¿½kten bï¿½yï¿½ÄŸe doÄŸru 15/14, 14/13, 13/12, 12/11, 11/10 >(EK12'deki deÄŸerlerle karÅŸÄ±laÅŸtÄ±rÄ±nÄ±z) oranlarÄ±yla aï¿½Ä±klanÄ±ÅŸÄ±, bu >yï¿½ndeki gï¿½rï¿½ÅŸï¿½mï¿½zï¿½ doÄŸrulamaktadÄ±r (Bkz. Prof. Yalï¿½Ä±n Tura, "Tï¿½rk >MusÄ±kisinin Meseleleri", Pan YayÄ±ncÄ±lÄ±k, Ä°stanbul, 1988, s. 107 ve >Cris Forster'in sitesi: http://www.chrysalis-foundation.org/Al-
>Farabi's_'Uds.htm)
>
>******************************
>
>Regarding your interest in my manuscript, _Musical Mathematics: A >Practice in the Mathematics of Tuning Instruments and Analyzing >Scales_, it is not for lack of effort that the road to (now) self-
>publication has been extremely difficult.
>
>Please visit >
>******************************
>
>http://www.chrysalis-foundation.org/index.htm
>
>******************************
>
>and note the following announcement at the bottom of this page:
>
>******************************
>
>Dear Reader,
>
>Since July 2002, more than 100,000 visitors have logged on to >www.Chrysalis-Foundation.org. Your interest has encouraged us to >plan a self-publication of Cris Forster's manuscript Musical >Mathematics: A Practice in the Mathematics of Tuning Instruments and >Analyzing Scales. To accomplish this task, we will be applying to >organizations and individuals for grants. Our goal is to go to >press in the spring of 2006, and to publish a complete and >unabridged first edition of 500 copies, with a retail cost of less >than $90.00 per book. If you would like more information on Mr. >Forster's 1300-page manuscript, please visit our Musical Mathematics >page, which shows the Table of Contents of this work.
>
>If you would like to see Musical Mathematics in print, please write >to us so that we may include your emails and letters in our grant >applications. Kindly let us know whether you are a musician, >student, teacher, professor, instrument builder, etc., and indicate >any institutional affiliations you may have. This information will >only be used in confidential grant applications. We will honor >anyone's wish to remain anonymous.
>
>Please send your email to:
>
>info@Chrysalis-Foundation.org
>
>or send your letter to:
>
>The Chrysalis Foundation
>1459 18th Street, PMB #137
>San Francisco, CA 94107
>
>Thank you for your interest and support of the Chrysalis Foundation >book publication project.
>
>The Board of Directors
>
>******************************
>
>With your permission, I will include your posts regarding your >interest in _Musical Mathematics_ at the Yahoo Tuning Group in our >grant applications.
>
>And yes, I will definitely let you know when _Musical Mathematics_ >is available.
>
>Thank you kindly for your support in this self-publication effort.
>
>Sincerely,
>
>Cris Forster, Music Director
>www.Chrysalis-Foundation.org
>
>
>--- In tuning@yahoogroups.com, "Ozan Yarman" <ozanyarman@s...> wrote:
> >
>>Alright, I have made the requested addition to the PDF file in my >> >>
>website. However, I trust you will not forsake me the benefit of >investigating your book.
> >
>>Cordially,
>>Ozan Yarman
>>
>> ----- Original Message ----- >> From: Cris Forster >> To: tuning@yahoogroups.com >> Sent: 11 Eylï¿½l 2005 Pazar 6:19 >> Subject: [tuning] Re: To Mr. Ozan Yarman -- A Respectful Request
>>
>>
>> Dear Mr. Yarman
>>
>> ...and Cris Forster's http://www.chrysalis-foundation.org/Al-
>> Farabi's_'Uds.htm)
>>
>> would have made me very happy.
>>
>> Cris Forster, Music Director
>> www.Chrysalis-Foundation.org
>>
>>
>> [Footnote] 22
>>
>> When the intervals given by Alpharabius more than a millenium >> >>
>ago > >
>> are scrutinized, the fact that mujannab is explained from >> >>
>smallest > >
>> to largest by the ratios 15/14, 14/13, 13/12, 12/11, 11/10 >> >>
>(compare > >
>> with the values given in Appendix 12) vindicates our observation >> >>
>in > >
>> that regard. (Cf. Prof. Yalï¿½ï¿½n Tura, "Tï¿½rk Musï¿½kisinin >> >>
>Meseleleri", > >
>> Pan Publishing House, Istanbul, 1988, p. 107, and Cris Forster's >> http://www.chrysalis-foundation.org/Al-Farabi's_'Uds.htm)
>> >>
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 3 > Date: Sun, 11 Sep 2005 18:02:54 +0300
> From: "Ozan Yarman" <ozanyarman@superonline.com>
>Subject: Re: Re: To Mr. Ozan Yarman -- A Respectful Request
>
>I would be delighted if you could at least provide the chapters on Maqam Music in PDF format as a sign of goodwill and to assist in my dissertation, so that I may use them as reference, seeing as I do not have the liberty of spending 90 US dollars for your unpublished book at this juncture.
>
>Cordially,
>Ozan
> ----- Original Message ----- > From: Cris Forster > To: tuning@yahoogroups.com > Sent: 11 Eylï¿½l 2005 Pazar 17:22 > Subject: [tuning] Re: To Mr. Ozan Yarman -- A Respectful Request
>
>
> Dear Ozan Yarman,
>
> Thank you kindly for the inclusion of >
> "ï¿½Cris Forster'in sitesi:ï¿½"
>
> in your Footnote 22 below:
>
> ******************************
>
> [Footnote]
>
> SNIPPED
>
> ******************************
>
> Regarding your interest in my manuscript, _Musical Mathematics: A > Practice in the Mathematics of Tuning Instruments and Analyzing > Scales_, it is not for lack of effort that the road to (now) self-
> publication has been extremely difficult.
>
> Please visit >
> ******************************
>
> http://www.chrysalis-foundation.org/index.htm
>
> ******************************
>
> and note the following announcement at the bottom of this page:
>
> ******************************
>
> Dear Reader,
>
> Since July 2002, more than 100,000 visitors have logged on to > www.Chrysalis-Foundation.org. Your interest has encouraged us to > plan a self-publication of Cris Forster's manuscript Musical > Mathematics: A Practice in the Mathematics of Tuning Instruments and > Analyzing Scales. To accomplish this task, we will be applying to > organizations and individuals for grants. Our goal is to go to > press in the spring of 2006, and to publish a complete and > unabridged first edition of 500 copies, with a retail cost of less > than $90.00 per book. If you would like more information on Mr. > Forster's 1300-page manuscript, please visit our Musical Mathematics > page, which shows the Table of Contents of this work.
>
> If you would like to see Musical Mathematics in print, please write > to us so that we may include your emails and letters in our grant > applications. Kindly let us know whether you are a musician, > student, teacher, professor, instrument builder, etc., and indicate > any institutional affiliations you may have. This information will > only be used in confidential grant applications. We will honor > anyone's wish to remain anonymous.
>
> Please send your email to:
>
> info@Chrysalis-Foundation.org
>
> or send your letter to:
>
> The Chrysalis Foundation
> 1459 18th Street, PMB #137
> San Francisco, CA 94107
>
> Thank you for your interest and support of the Chrysalis Foundation > book publication project.
>
> The Board of Directors
>
> ******************************
>
> With your permission, I will include your posts regarding your > interest in _Musical Mathematics_ at the Yahoo Tuning Group in our > grant applications.
>
> And yes, I will definitely let you know when _Musical Mathematics_ > is available.
>
> Thank you kindly for your support in this self-publication effort.
>
> Sincerely,
>
> Cris Forster, Music Director
> www.Chrysalis-Foundation.org
>
>
>[This message contained attachments]
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 4 > Date: Sun, 11 Sep 2005 15:26:00 -0000
> From: "Cris Forster" <cris.forster@comcast.net>
>Subject: Re: To Mr. Ozan Yarman -- A Respectful Request
>
>Currently, my manuscript is *not* for sale; our "...goal..."
>is to publish and sell the book in 2006.
>
>The Board of Directors of the Chrysalis Foundation has requested >that I do not release any more pages while filing grant application >proposals.
>
>Sincerely,
>
>Cris
>
>
>--- In tuning@yahoogroups.com, "Ozan Yarman" <ozanyarman@s...> wrote:
> >
>>I would be delighted if you could at least provide the chapters on >> >>
>Maqam Music in PDF format as a sign of goodwill and to assist in my >dissertation, so that I may use them as reference, seeing as I do >not have the liberty of spending 90 US dollars for your unpublished >book at this juncture.
> >
>>Cordially,
>>Ozan
>> ----- Original Message ----- >> From: Cris Forster >> To: tuning@yahoogroups.com >> Sent: 11 Eylï¿½l 2005 Pazar 17:22 >> Subject: [tuning] Re: To Mr. Ozan Yarman -- A Respectful Request
>>
>>
>> Dear Ozan Yarman,
>>
>> Thank you kindly for the inclusion of >>
>> "ï¿½Cris Forster'in sitesi:ï¿½"
>>
>> in your Footnote 22 below:
>>
>> ******************************
>>
>> [Footnote]
>>
>> SNIPPED
>>
>> ******************************
>>
>> Regarding your interest in my manuscript, _Musical Mathematics: >> >>
>A > >
>> Practice in the Mathematics of Tuning Instruments and Analyzing >> Scales_, it is not for lack of effort that the road to (now) >> >>
>self-
> >
>> publication has been extremely difficult.
>>
>> Please visit >>
>> ******************************
>>
>> http://www.chrysalis-foundation.org/index.htm
>>
>> ******************************
>>
>> and note the following announcement at the bottom of this page:
>>
>> ******************************
>>
>> Dear Reader,
>>
>> Since July 2002, more than 100,000 visitors have logged on to >> www.Chrysalis-Foundation.org. Your interest has encouraged us >> >>
>to > >
>> plan a self-publication of Cris Forster's manuscript Musical >> Mathematics: A Practice in the Mathematics of Tuning Instruments >> >>
>and > >
>> Analyzing Scales. To accomplish this task, we will be applying >> >>
>to > >
>> organizations and individuals for grants. Our goal is to go to >> press in the spring of 2006, and to publish a complete and >> unabridged first edition of 500 copies, with a retail cost of >> >>
>less > >
>> than $90.00 per book. If you would like more information on Mr. >> Forster's 1300-page manuscript, please visit our Musical >> >>
>Mathematics > >
>> page, which shows the Table of Contents of this work.
>>
>> If you would like to see Musical Mathematics in print, please >> >>
>write > >
>> to us so that we may include your emails and letters in our >> >>
>grant > >
>> applications. Kindly let us know whether you are a musician, >> student, teacher, professor, instrument builder, etc., and >> >>
>indicate > >
>> any institutional affiliations you may have. This information >> >>
>will > >
>> only be used in confidential grant applications. We will honor >> anyone's wish to remain anonymous.
>>
>> Please send your email to:
>>
>> info@C...
>>
>> or send your letter to:
>>
>> The Chrysalis Foundation
>> 1459 18th Street, PMB #137
>> San Francisco, CA 94107
>>
>> Thank you for your interest and support of the Chrysalis >> >>
>Foundation > >
>> book publication project.
>>
>> The Board of Directors
>>
>> ******************************
>>
>> With your permission, I will include your posts regarding your >> interest in _Musical Mathematics_ at the Yahoo Tuning Group in >> >>
>our > >
>> grant applications.
>>
>> And yes, I will definitely let you know when _Musical >> >>
>Mathematics_ > >
>> is available.
>>
>> Thank you kindly for your support in this self-publication >> >>
>effort.
> >
>> Sincerely,
>>
>> Cris Forster, Music Director
>> www.Chrysalis-Foundation.org
>> >>
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 5 > Date: Sun, 11 Sep 2005 19:15:07 +0300
> From: "Ozan Yarman" <ozanyarman@superonline.com>
>Subject: Re: Re: To Mr. Ozan Yarman -- A Respectful Request
>
>It is obvious then, that your book is not able to be referenced since it is not fully published. Make note that I have modified the aforementioned footnote for your satisfaction only.
>
>It would nevertheless be a nice gesture if you would be so kind as to provide the relevant sections on Maqam Music Theory upon the release of your book.
>
>Cordially,
>Ozan
>
> ----- Original Message ----- > From: Cris Forster > To: tuning@yahoogroups.com > Sent: 11 Eylï¿½l 2005 Pazar 18:26 > Subject: [tuning] Re: To Mr. Ozan Yarman -- A Respectful Request
>
>
> Currently, my manuscript is *not* for sale; our "...goal..."
> is to publish and sell the book in 2006.
>
> The Board of Directors of the Chrysalis Foundation has requested > that I do not release any more pages while filing grant application > proposals.
>
> Sincerely,
>
> Cris
>
>
>
>[This message contained attachments]
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 6 > Date: Sun, 11 Sep 2005 17:48:49 -0000
> From: "Joseph Pehrson" <jpehrson@rcn.com>
>Subject: Re: AFMM Bosanquet keyboard
>
>--- In tuning@yahoogroups.com, "Jon Szanto" <jszanto@c...> wrote:
> >
>>Joe,
>>
>>--- In tuning@yahoogroups.com, "Joseph Pehrson" <jpehrson@r...>
>> >>
>wrote:
> >
>>>Johnny Reinhard and I went out to Queens College today to see the
>>>wonderful new Bosanquet keyboard implemented by Canadian Dylan
>>>Horvath that will be available through the American Festival of
>>>Microtonal Music.
>>> >>>
>>Tres cool. Not to be incontrovertably pragmatic, but have they set
>> >>
>any
> >
>>kind of price range for these items?
>>
>>Cheers,
>>Jon
>> >>
>
>***Hi Jon!
>
>The price will depend on the number of people purchasing as advance >commitments. My understanding is that it will need to be over 30 >for "mass production" to take place.
>
>>From the discussions with Dylan Horvath yesterday, it seems that if >there are more than 100 purchasers, the price can get below $2000.
>
>Perhaps I say too much again... :) These deliberations are still in >flux!
>
>Joe
>
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 7 > Date: Sun, 11 Sep 2005 17:54:51 -0000
> From: "Joseph Pehrson" <jpehrson@rcn.com>
>Subject: Re: AFMM Bosanquet keyboard
>
>--- In tuning@yahoogroups.com, "Jon Szanto" <jszanto@c...> wrote:
> >
>>--- In tuning@yahoogroups.com, "Igliashon Jones" <igliashon@s...> >> >>
>wrote:
> >
>>>I think I just peed my pants!!
>>>
>>>I hope very much that its price is not prohibitive for poor >>> >>>
>college
> >
>>>boys like myself....
>>> >>>
>>Just what is it you are smoking up in the Bay area? You better get a
>>grip, this is no Wal-Mart panacea we're staring at. Look at the >> >>
>Starr
> >
>>Labs Boards (though I think you have):
>>http://www.starrlabs.com/
>>
>>Look at the Marimba Lumina:
>>http://www.buchla.com/mlumina/
>>
>>Anything that is niche is for the riche...
>>
>>Cheers,
>>Envoy (who, nonetheless, still thinks hope springs eternal)
>> >>
>
>
>***I should also mention that the instrument is based on Sieman >Terpstra's design (he's from the Netherlands), which was based on >Bosanquet.
>
>Well, Otto Luening always used to say that one way was maybe to get a >bunch of composers together to *share* equipment and "group >purchase..."
>
>But, of course, that means fewer sales one the overall and a higher >base price for the unit being purchased.
>
>[My impression, and here I also say too much again... :) is if only >30 are sold it would be around $7,000.]
>
>So, there could be a couple ways to go...
>
>JP
>
>
>
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 8 > Date: Sun, 11 Sep 2005 21:40:25 +0100
> From: Charles Lucy <lucy@harmonics.com>
>Subject: Response to Carl - re; yahoo, list etiquette, scalecoding etc.
>
>Thank you Carl for your responses:
>
>
>
> >
>>>The people who should be criticised for linking to urls, are those
>>>who put their files at Yahoo.
>>>
>>> >>>
>>Then criticize them. I don't like Yahoo's site either, but it
>>is at least a way to keep intellectual material with the list.
>> >>
>
>.... then in the following posts in that Tuning Digest, I find >someone complaining about "trouble at list file storage" and the >suggestion to post at private sites.
>
>I seem to remember that the content of all url's are archived >somewhere on the net, so that although the site itself or Yahoo lists >may cease to function,
>the content is fairly easily "findable" in the archives of the net.
>Most of the links that I refer are formatted as columns, or contain >graphics which would be less clear in a text format.
>
>
> >
>>That's all fine and well, but on a mailing list, it's considered
>>rude if you just post links all the time. Especially if they're
>>always to one of your sites. It's self-promotional
>> >>
>
>Of course it's "self-promotional", we are living in an ego-centric, >celebrity worshipping, capitalist society, of branding for the >consumers.
>
>So if you type "lullabies" into your iTunes store search, the top 14 >of the 1250+ songs that are listed are all LucyTuned Lullabies (from >around the world).
>
>[We can all see that the corporations and governments are now >attempting to dominate the net. - blah ^ n ] --- That's for another >list;-)
>
>It's about time we started making some decent money back from Lulls >sales!
>
> >
>>(not that
>>anyone'd accuse you of that) and doesn't contribute intellectual
>>material to the list (which is in some sense an effort to aggregate
>>shared intellectual material).
>>
>> >>
>
>Since you ask I shall actually prepare a text explanation of >scalecoding, and post it to the tuning list.
>
>I still need to think it through as I also hope to be able to post my >thoughts on how this type of system could also be extended and >applied to produce
>a classification method for scale types other than meantone.
>
>Don't hold your breathe though; it'll take me a few days to fully >think it out, and post an initial and hopefully practical proposal.
>
>
>
>Charles Lucy - lucy@harmonics.com
>------------ Promoting global harmony through LucyTuning -------
>for information on LucyTuning go to: http://www.lucytune.com
>for LucyTuned Lullabies go to http://www.lullabies.co.uk
>Buy/download/CD from: http://www.cdbaby.com/cd/lucytuned2
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 9 > Date: Sun, 11 Sep 2005 22:08:54 +0100
> From: Charles Lucy <lucy@harmonics.com>
>Subject: Scalecoding - how it woks for meantone and could for other systems.
>
>In response to Carl's suggestion, here (in text form) is how >scalecoding works for all meantone-type tunings
>
> >
>>I sure did, and I promise you I'm not the only one. Why not
>>explain it on the list?
>> >>
>
>I will see below:
>
> >
>> The first problem I ran into is that you seem to assume
>>there are recognizable 5ths and 4ths.
>> >>
>
>In meantone, there is usually little dispute about where the fifth >(and hence the fourth) is located - (generally the interval nearest >to 700 cents).
>In many others, it is also usually clear.
>For those tunings which are ambiguous or derived from an entirely >"alien" mapping; the same principle could be applied by specifying >the reference for the chain.
>Chains could be shown from any reference interval, it just happens to >be convenient to use the fifth for meantones and many others.
>
>
>
>Format of scalecdoing is : x/m1m2..../T
>x= The expanse i.e. the number of steps along the chain of fourthsand >fifths from the flatmos fourth note to the sharpmost fifth for each >scale.
>m1m2 etc. = position of missing notes.
>T = Tonic.
>
>This is an example of how it works for a meantone-type tuning; and >can be applied to any 5 Large 2 small interval = an octave, and >produces a unique and unambiguous result
>in both directions - from notenames to coding; and coding to notenames.
>
>e.g. scale coding is 9/389/7
>Notes in ascending pitch order = C-Db-Eb-F-Gb-A-Bb
>Arranged in chain of fifths - left to right = Gb-Db-Ab-Eb-Bb-F-C-G-D-A
>Chain is of ten notes i.e. 9 steps (from Gb to A)
>Notes in positions 3 (Ab), 8 (G) and 9 (D) are missing
>The Tonic is note in position 7 (C)
>
>To analyse a collection of notes.
>
>1. List all the different notes which are used in the piece >regardless of octave.
>
>2. Arrange the note names in order of fourths (flats) in one >direction and fifths (sharps) in the other, leaving blank spaces >where notes are missing. [Sequence ascending in fifths is: Bbb Fb Cb >Gb Db Ab Eb Bb F C G D A E B F# C# G# D# A# E# B# F## C## etc.] The >fifth may be considered as the dominant, and the fourth as the sub- >dominant.
>
>3. Count the total number of steps between the fourthmost (flat) and >fifthmost (sharp) note. This is the extent of the string, or chain of >fourths/fifths (x).
>
>4. List the missing notes. Identify them by numbering the flatmost as >1 and the following as ascending numbers moving through fifths. Each >of the missing notes may be defined as between 2 and x.
>
>5. The megamode may now be defined by the number of steps and the >position of the missing notes (m1, m2, etc.). Eg. x=12 m1=2; m2=5; >m3=9; and m4=11. Therefore there are four notes missing in the >sequence. The extent is (x)=12. So there are thirteen notes of which >four (m1 to m4) are missing leaving 13-4 = 9 notes. In this case >numbers 1, 3, 4, 6, 7, 8, 9, 10, and 12. 6.
>
>6.The mode is determined by which of the notes is chosen as the start >of a sequence of ascending frequencies. This starting note may be >identified by stating its position on the chain of fifths. For >example, if the notes were six consecutive steps (Eg. F C G D A E B); >these pitches could be arranged in seven modes of different ascending >pitch orders.
>
>
>5. The megamode may now be defined by the number of steps and the >position of the missing notes (m1, m2, etc.). Eg. x=12 m1=2; m2=5; >m3=9; and m4=11. Therefore there are four notes missing in the >sequence. The extent is (x)=12. So there are thirteen notes of which >four (m1 to m4) are missing leaving 13-4 = 9 notes. In this case >numbers 1, 3, 4, 6, 7, 8, 9, 10, and 12. 6.
>
>6.The mode is determined by which of the notes is chosen as the start >of a sequence of ascending frequencies. This starting note may be >identified by stating its position on the chain of fifths. For >example, if the notes were six consecutive steps (Eg. F C G D A E B); >these pitches could be arranged in seven modes of different ascending >pitch orders.
>
>
>7. The key of the scale and scale is determined by the tonal center, >which may defined as C,D,E,F,G,A, or B with the appropriate sharps or >flats. The scale may then be listed in ascending frequency order by >note name.
>
>8. A scale or mode may therefore be defined as: Number of steps in >chain (x)/position(s) of missing notes (counted from fourths towards >fifths)/Position of tonic (counted from fourths towards fifths). Eg. >The scale and mode described as 5/25/3 could give the notes F-G-D-E >from the chain F-C-G-D-A-E. Using the third note of the chain (G) as >the starting note giving a scale of G-D-E-F or the mode of I-V-VI-bVII.
>
>
>N.B. This system is for Octave Ratio = 2.
>5 large + 2 small intervals = one octave.
>
>In the following comments please realise that I am thinking about >this from a meantone perspective.
>
>Nevertheless I believe that developments from this type of system can >be applied to JI, equal temperaments, and multi-dimensional patterns.
>
>
>Now I need to start thinking/working.
>Within the next few days I intend to post my initial proposals for a >similar system which can also embrace other types of tuning systems:
>to classify them and devise a coding for the scales that they can >produce.
>
>To cover:
>Various other quantities of two interval sizes per octave. (e.g. x >Large + y small intervals per octave)
>Similar systems with more than two interval sizes (e.g. w Gigantic + >x Large + y small + z tiny) etc.
>JI tunings
>Equal temperaments
>Non-octave systems
>Hybrid systems
>other tuning systems that I have yet to seriously think about ...
>
>
>
>
>Charles Lucy - lucy@harmonics.com
>------------ Promoting global harmony through LucyTuning -------
>for information on LucyTuning go to: http://www.lucytune.com
>for LucyTuned Lullabies go to http://www.lullabies.co.uk
>Buy/download/CD from: http://www.cdbaby.com/cd/lucytuned2
>
>
>
>
>[This message contained attachments]
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 10 > Date: Sun, 11 Sep 2005 18:23:15 -0400 (EDT)
> From: Magnus Jonsson <magnus@smartelectronix.com>
>Subject: New lurker
>
>Hello Tuning List,
>
>I've lurked on this list for a week or so now but I thought I may as well >introduce myself. My name is Magnus Jonsson, 24 years old. I study
>computer science at University of Delaware. I play the piano although I'm
>getting bored with it. I'm now learning Erhu (Chinese two-string violin).
>Tuning-wise, my primary interest lies in just intonation and especially >the practical side of it. So far I've mostly found it practical to work >with JI using a computer. I've made my own VSTi instruments which I use >for exploring just intonation. You can hear some of my "etudes" here, in >which I explore various just intonation scales:
>
>http://magnus.smartelectronix.com/examples/just-intonation/
>
>(Yes, they all end abruptly)
>
>Here are some personal findings I've made about just intonation:
>
>- The harmonic series is more pleasant than the subharmonic >series in polyphonic music and perhaps even in monophonic.
>
>- Lack of pitch drift can give ear fatigue. But excessive pitch
> drift is not pleasant either.
>
>- Using a drone encourages more creative/touching melody. Harmony >tends to constrict the melody. I suspect there's a trade-off between >melody and harmony. Does anyone have similar or contradicting experience?
>
>- I look with great suspicion on octave equivalence. Two examples (you
>will perhaps need a bright timbre):
> 1:5 vs 5/4:4.
> 2:21 vs 16:21.
>
>That's enough for now I think.
>
>- Magnus Jonsson
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 11 > Date: Mon, 12 Sep 2005 01:11:16 -0000
> From: "Jon Szanto" <jszanto@cox.net>
>Subject: Re: New lurker
>
>Magnus!
>
>--- In tuning@yahoogroups.com, Magnus Jonsson <magnus@s...> wrote:
> >
>>I've lurked on this list for a week or so now but I thought I may as
>> >>
>well > >
>>introduce myself. My name is Magnus Jonsson, 24 years old.
>> >>
>
>Man, I never thought I'd see the likes of you around a place like
>this! I've been using Ambience and NyquistEQ for a while now! I look
>forward to your endeavors in JI, and would love to see what you've
>done, VST-wise, in that area.
>
>I started an offshoot of this list about 4 years ago called Making
>Microtonal Music:
>
>/makemicromusic/
>
>... the point of which was to have a place where people might discuss
>some of the more pragmatic, as opposed to the more theoretic, aspects
>of creating their own microtonal music. But wherever you post, I'll
>certainly be reading with interest, and I'll check out your
>explorations as well.
>
>Cheers,
>Jon
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 12 > Date: Sun, 11 Sep 2005 21:48:40 -0400 (EDT)
> From: Magnus Jonsson <magnus@smartelectronix.com>
>Subject: Re: Re: New lurker
>
>Wow, I never thought I'd get a welcome like this :)
>
>On Mon, 12 Sep 2005, Jon Szanto wrote:
>
> >
>>Magnus!
>> >>
>
> >
>>Man, I never thought I'd see the likes of you around a place like
>>this! I've been using Ambience and NyquistEQ for a while now! I look
>>forward to your endeavors in JI, and would love to see what you've
>>done, VST-wise, in that area.
>> >>
>
>You could check out MjHarmonicPingOnly which is available on my
>site. It's a simple decaying sine wave synth tuned to the harmonic
>series, with some mild distortion at the output end to emphasize
>the just intonation and give more interesting sound.
>
>I'm also working on a plucked string synth, but it is in constant
>flux and not ready for public release. I'd be happy to share it with
>you though if you send a private email.
>
> >
>>I started an offshoot of this list about 4 years ago called Making
>>Microtonal Music:
>>
>>/makemicromusic/
>> >>
>
>Oh, excellent initiative! I'm joining.
>
> >
>>But wherever you post, I'll certainly be reading with interest, and I'll >>check out your explorations as well.
>> >>
>
>I appreciate it! Thanks.
>
>- Magnus
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 13 > Date: Mon, 12 Sep 2005 02:48:33 -0000
> From: "Jon Szanto" <jszanto@cox.net>
>Subject: Re: New lurker
>
>--- In tuning@yahoogroups.com, Magnus Jonsson <magnus@s...> wrote:
> >
>>Wow, I never thought I'd get a welcome like this :)
>> >>
>
>Deserved.
>
> >
>>You could check out MjHarmonicPingOnly...
>> >>
>
>Dl'd, just awaiting install after dinner. :)
>
> >
>>I'm also working on a plucked string synth, but it is in constant
>>flux and not ready for public release. I'd be happy to share it with
>>you though if you send a private email.
>> >>
>
>Yep, I'll do that. In fact, better: I'm going to do a custom order
>from you!
>
> >
>>Oh, excellent initiative! I'm joining.
>> >>
>
>Cool. It's being moderated now by Prent Rodgers, who's done great
>things with JI and the diamond. He has a microtonal podcast, and has
>recently posted - look through the recent messages for that info.
>
>Soon,
>Jon
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>Message: 14 > Date: Mon, 12 Sep 2005 09:51:28 -0000
> From: "Gene Ward Smith" <gwsmith@svpal.org>
>Subject: Diatonic circle of thirds
>
>By this I mean the following cycle in the diatonic scale:
>
>C==>E==>G==>B==>D==>F==>A==>C
>
>Does this have some recognized name?
>
>
>
>
>________________________________________________________________________
>________________________________________________________________________
>
>
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--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

Re: [tuning] Digest Number 3663

🔗Kraig Grady <kraiggrady@anaphoria.com>

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