The same tuning but different sound

Hi again.

This improvised piece sounds as if I was playing in two different tunings. Interestingly, it's actually the same tuning for the whole piece, I only changed the sound in the second part, nothing more. I'll not say anything about what tuning it is as I think one of you will get it very soon.
http://download.yousendit.com/B6FACBDC3E38EB89

Petr

Petr Pařízek wrote:
> Hi again.
> > This improvised piece sounds as if I was playing in two different tunings. > Interestingly, it's actually the same tuning for the whole piece, I only > changed the sound in the second part, nothing more. I'll not say anything > about what tuning it is as I think one of you will get it very soon.
> http://download.yousendit.com/B6FACBDC3E38EB89
> > Petr

The little neo-gothic interlude between the two sections pretty much gives it away, or at least seems to lead in the right direction. I can't be sure of the exact tuning, but superpyth is a likely possibility. Is that one of Margo Schulter's progressions? It sounds a bit familiar.

Herman wrote:

> The little neo-gothic interlude between the two sections pretty much
> gives it away, or at least seems to lead in the right direction. I can't
> be sure of the exact tuning, but superpyth is a likely possibility.

Of course, it is. Now I’m getting a feeling that the interulde has said too much. The generator is the 9th root of 40 so the chord which sound like a C major is in fact a C-D#-G and the one which sounds like D minor is C#-F-G#. This means that the interval sounding like a pretty wide comma (which is represented by the syntonic comma in 5-limit JI) works here as a minor second!

> Is that one of Margo Schulter's progressions? It sounds a bit familiar.

I didn’t have a notion that Margo used this progression somewhere. I was just inspired by old music.

Petr

Petr Pařízek wrote:
> Herman wrote:
> > > >> The little neo-gothic interlude between the two sections pretty much >> gives it away, or at least seems to lead in the right direction. I can't >> be sure of the exact tuning, but superpyth is a likely possibility.
> > > > Of course, it is. Now I’m getting a feeling that the interulde has said too much. The generator is the 9th root of 40 so the chord which sound like a C major is in fact a C-D#-G and the one which sounds like D minor is C#-F-G#. This means that the interval sounding like a pretty wide comma (which is represented by the syntonic comma in 5-limit JI) works here as a minor second!

So it's within the consistent range for superpyth, but a little bit out of the most optimal range.

>> Is that one of Margo Schulter's progressions? It sounds a bit familiar.
> > > > I didn’t have a notion that Margo used this progression somewhere. I was just inspired by old music.

She's used similar sounding progressions. Maybe not this exact one, though.