17-Or-Less-Tone Morse-Thue Melody Contour Diagram:

1. select initial starting pitch class

2. descend 1 pitch class/scale step

3. ascend 2 pitch classes/scale steps

4. ascend 1 pitch class/scale step

5. descend 4 pitch classes/scale steps

6. ascend 5 pitch classes/scale steps

7. descend 6 pitch classes/scale steps

8. descend 1 pitch class/scale step

9. ascend 8 pitch classes/scale steps

10. ascend 1 pitch class/scale step

11. descend 10 pitch classes/scale steps

12. descend 1 pitch class/scale step

13. ascend 12 pitch classes/scale steps

14. descend 13 pitch classes/scale steps

15. ascend 14 pitch classes/scale steps

16. ascend 1 pitch class/scale step

17. descend 16 pitch classes/scale steps

18. ascend 17 pitch classes/scale steps

More elaboration/explanation later.

Bill Flavell

A bit more compact way:

0 -1 +2 +1 -4 +5 -6 -1 +8 +1 -10 -1 +12 -13 +14 +1 -16 +17

I am wondering about the algorithm which generates this sequence of intervals. Aslo: is this sequence valid for whatever EDO?

Bill Flavell escreveu:
> 1. select initial starting pitch class
> > 2. descend 1 pitch class/scale step
> > 3. ascend 2 pitch classes/scale steps
> > 4. ascend 1 pitch class/scale step
> > 5. descend 4 pitch classes/scale steps
> > 6. ascend 5 pitch classes/scale steps
> > 7. descend 6 pitch classes/scale steps
> > 8. descend 1 pitch class/scale step
> > 9. ascend 8 pitch classes/scale steps
> > 10. ascend 1 pitch class/scale step
> > 11. descend 10 pitch classes/scale steps
> > 12. descend 1 pitch class/scale step
> > 13. ascend 12 pitch classes/scale steps
> > 14. descend 13 pitch classes/scale steps
> > 15. ascend 14 pitch classes/scale steps
> > 16. ascend 1 pitch class/scale step
> > 17. descend 16 pitch classes/scale steps
> > 18. ascend 17 pitch classes/scale steps
> > > More elaboration/explanation later.
> > > Bill Flavell
> -- '-------------------------------------------------------------------.
Hudson Lacerda <http://geocities.yahoo.com.br/hfmlacerda/>
*N�o deixe seu voto sumir! http://www.votoseguro.org/
*Ap�ie o Manifesto: http://www.votoseguro.com/alertaprofessores/

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.-------------------------------------------------------------------'
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_______________________________________________________
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http://br.acesso.yahoo.com

--- In tuning@yahoogroups.com, Hudson Lacerda <hfmlacerda@...> wrote:
>
> A bit more compact way:
>
> 0 -1 +2 +1 -4 +5 -6 -1 +8 +1 -10 -1 +12 -13 +14 +1 -16 +17

Bach wrote stuff kinda like this. The leaps can simulate 2
voices. But I'm not sure that's what you had in mind.

-Carl

--- In tuning@yahoogroups.com, Hudson Lacerda <hfmlacerda@...> wrote:
>
> A bit more compact way:
>
> 0 -1 +2 +1 -4 +5 -6 -1 +8 +1 -10 -1 +12 -13 +14 +1 -16 +17

Thanks for that input, Hudson! :) I'll use that format in the future.

> I am wondering about the algorithm which generates this sequence of
> intervals.

I just did it by hand, Hudson, starting with a central pitch class
and then expanding out radially to the next available unsounded pitch
class. All of my algorithm work is graphics-centric as opposed to
mathematical/algebraic, since my background is in mechanical
engineering and drafting. I had to invent my own melody-specific
graphical notation system, and if it weren't for that notation
system, I wouldn't have made some of the discoveries that I've made.

> Aslo: is this sequence valid for whatever EDO?

Yes, and in fact it can also be used with either
symmetrical or asymmetrical non-EDO tunings. I'll
post something regarding the cross-tuning definition
of melody later.

Bill Flavell

>
> Bill Flavell escreveu:
> > 1. select initial starting pitch class
> >
> > 2. descend 1 pitch class/scale step
> >
> > 3. ascend 2 pitch classes/scale steps
> >
> > 4. ascend 1 pitch class/scale step
> >
> > 5. descend 4 pitch classes/scale steps
> >
> > 6. ascend 5 pitch classes/scale steps
> >
> > 7. descend 6 pitch classes/scale steps
> >
> > 8. descend 1 pitch class/scale step
> >
> > 9. ascend 8 pitch classes/scale steps
> >
> > 10. ascend 1 pitch class/scale step
> >
> > 11. descend 10 pitch classes/scale steps
> >
> > 12. descend 1 pitch class/scale step
> >
> > 13. ascend 12 pitch classes/scale steps
> >
> > 14. descend 13 pitch classes/scale steps
> >
> > 15. ascend 14 pitch classes/scale steps
> >
> > 16. ascend 1 pitch class/scale step
> >
> > 17. descend 16 pitch classes/scale steps
> >
> > 18. ascend 17 pitch classes/scale steps
> >
> >
> > More elaboration/explanation later.
> >
> >
> > Bill Flavell
> >
>
> --
> '----------------------------------------------------------------
---.
> Hudson Lacerda <http://geocities.yahoo.com.br/hfmlacerda/>
> *Não deixe seu voto sumir! http://www.votoseguro.org/
> *Apóie o Manifesto:
http://www.votoseguro.com/alertaprofessores/
>
> == THE WAR IN IRAQ COSTS ==
> http://nationalpriorities.org/index.php?
option=com_wrapper&Itemid=182
> .----------------------------------------------------------------
---'
> --
>
>
>
> _______________________________________________________
> Yahoo! Acesso Grátis - Internet rápida e grátis. Instale o discador
agora!
> http://br.acesso.yahoo.com
>

--- In tuning@yahoogroups.com, "Carl Lumma" <clumma@...> wrote:
>
> --- In tuning@yahoogroups.com, Hudson Lacerda <hfmlacerda@> wrote:
> >
> > A bit more compact way:
> >
> > 0 -1 +2 +1 -4 +5 -6 -1 +8 +1 -10 -1 +12 -13 +14 +1 -16 +17
>
> Bach wrote stuff kinda like this. The leaps can simulate 2
> voices. But I'm not sure that's what you had in mind.

No, I hate Bach, Carl! :)

What I'm trying to do is create a stylistically neutral way in which to
audition or evaluate the melodic potential of any particular tuning
system, and the Morse-Thue contour is the most objective/stylistically
neutral way to do that that I know of.

Bill Flavell

> > > A bit more compact way:
> > >
> > > 0 -1 +2 +1 -4 +5 -6 -1 +8 +1 -10 -1 +12 -13 +14 +1 -16 +17
> >
> > Bach wrote stuff kinda like this. The leaps can simulate 2
> > voices. But I'm not sure that's what you had in mind.
>
> No, I hate Bach, Carl! :)
>
> What I'm trying to do is create a stylistically neutral way in
> which to audition or evaluate the melodic potential of any
> particular tuning system, and the Morse-Thue contour is the most
> objective/stylistically neutral way to do that that I know of.

But it's not very musical, to my ears. At least, the
MIDI files at IntervalliclyNeutralPracticeMelodies aren't.
Part of the problem may be the octave-doubled brass used
in them.

-Carl

Hi Bill,

On Thu, 09 Mar 2006, Bill Flavell wrote:
>
> --- In tuning@yahoogroups.com, Hudson Lacerda <hfmlacerda@...> wrote:
> >
> > A bit more compact way:
> >
> > 0 -1 +2 +1 -4 +5 -6 -1 +8 +1 -10 -1 +12 -13 +14 +1 -16 +17
>
> Thanks for that input, Hudson! :) I'll use that format in the future.
>
> > I am wondering about the algorithm which generates this sequence of
> > intervals.
>
> I just did it by hand, Hudson, starting with a central pitch class
> and then expanding out radially to the next available unsounded pitch
> class. All of my algorithm work is graphics-centric as opposed to
> mathematical/algebraic, since my background is in mechanical
> engineering and drafting.

Never would have guessed! That's great!!! :-)

> I had to invent my own melody-specific
> graphical notation system, and if it weren't for that notation
> system, I wouldn't have made some of the discoveries that I've made.

Can you show us some of this notation?
(Might need to post a graphics file to
one of the tuning-files lists, rather than
trying to represent it in plain ASCII text.)

> > Aslo: is this sequence valid for whatever EDO?
>
> Yes, and in fact it can also be used with either
> symmetrical or asymmetrical non-EDO tunings. I'll
> post something regarding the cross-tuning definition
> of melody later.

Looking forward to seeing that.

Regards,
Yahya

--
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--- In tuning@yahoogroups.com, "Carl Lumma" <clumma@...> wrote:
>
> But it's not very musical, to my ears.

Sure, in terms of what is normally considered "expression". I was
trying to emphasize objectivty for comparison purposes.

> At least, the
> MIDI files at IntervalliclyNeutralPracticeMelodies aren't.

Well, thanks for listening to them! :)

> Part of the problem may be the octave-doubled brass used
> in them.

Yes, I think I screwed up there. I was thinking that that would make
the sound richer, but it also "muddies" the tonality, unfortunately,
and I didn't have the computer access time to even listen to them
myself, I was so intent on getting as many posted as possible.

Thanks for the response! :)

Bill Flavell

--- In tuning@yahoogroups.com, "Yahya Abdal-Aziz" <yahya@...> wrote:
>
> > I had to invent my own melody-specific
> > graphical notation system, and if it weren't for that notation
> > system, I wouldn't have made some of the discoveries that I've made.
>
> Can you show us some of this notation?
> (Might need to post a graphics file to
> one of the tuning-files lists, rather than
> trying to represent it in plain ASCII text.)

Unfortunately I don't have access to any drawing/drafting software,
but I'll post a query abot that to the list.

Bill Flavell