from shaahin , 24 edo as frame work for 17 or 18 intervals

Hi all

From yahya : > ... for example fifth upper : shur in c changes to shur
in g. it is
>interesting that intervallic structure of 2 tetrachords in scale are
>different so we have 2 different intervallic structure for tetrachords
in
>dastgah.
>I'm afraid I don't understand your example.
>Could you give a little more detail, perhaps of
>the sequence of notes?

No , the cents .

From ozan : >24, on the otherhand, is as incomplete as Yekta-Arel-Ezgi's
24-tone Pythagorean tuning is IMNSHO.

The structure of iranian music is based on tetrachords and concepts of
dastgah is designed on this. That is dastgah is mixture of different
tetrachords and we cant consider only a scale for it.According to
melodic movement in each goosheh and dastgah an ideal set of intervals
is enough for iranian music.24-edo is only a frame work for this set. So
here , they show deviation from 24-edo , for example( mi koron +5) or
350-15=355 cent. they think , this is sufficent for melodic language.

as Nature of iranian music is not harmonic with high degree of
modulation ..... so not all of 24-tone are used in for example fretting
tar and iranian music:

0: 1/1 0.000 unison, perfect prime

2: 100.000 cents 100.000( in some style we have this
degree)

3: 150.000 cents 150.000

4: 200.000 cents 200.000

6: 300.000 cents 300.000

7: 350.000 cents 350.000

8: 400.000 cents 400.000

10: 500.000 cents 500.000

11: 550.000 cents 550.000

12: 600.000 cents 600.000( in some style we have this
degree)

13: 650.000 cents 650.000

14: 700.000 cents 700.000

16: 800.000 cents 800.000

17: 850.000 cents 850.000

18: 900.000 cents 900.000

20: 1000.000 cents 1000.000

21: 1050.000 cents 1050.000

22: 1100.000 cents 1100.000

24: 2/1 1200.000 octave

Vaziri proposed 24-edo for harmony and modulations out of structure of
tradition . in styles which we havn't fret related to( 100 cent +/- X)
instrument , the tuning of instrument is in such a way to compensate
this lack.

>Even if it takes me a whole year, I will do my utmost to convince
brother

>Mohajeri and others that the totality of Maqam Music genres today
requires a

>tuning no less elaborate than 152-tET, which is the universal tuning

>solution suggested by Paul Erlich.

***

>I also think brother Mohajeri is overlooking the possibility of Maqam
flavors in meantone scales comprising +12 notes per octave.

I need only the set like I mentioned , in what ever systems . I belive
in fluid pitch-clusters or perdes , as i told before i,m working on
taste of tetrachords as intervallic spectrum ,from the worst to the best
tatse , it is like a surface on an intervallic coordinates .

>>But I would like you to tell me where Urmevi defends 13-limit systems?

May be a mistake of me, urmevi has mentioned the tehtrachordal and
pentachordal structure of his time to be simplified .

Shaahin Mohaajeri

Tombak Player & Researcher , Composer

www.geocities.com/acousticsoftombak

My tombak musics : www.rhythmweb.com/gdg

My articles in ''Harmonytalk'':

www.harmonytalk.com/archives/000296.html

www.harmonytalk.com/archives/000288.html

My article in DrumDojo:

www.drumdojo.com/world/persia/tonbak_acoustics.htm