Yahoo Tuning Groups Ultimate Backup tuning Music and scales, 676/675 as an unison vector

Hi there,

Yesterday, I was trying to find a tuning which could temper out the "small comma" of 676/675. In the end, I made two scales. The first one is definitely a rank 3 temperament, the second one am I not sure about; but I think it might be called that as well (though I'm still in doubt if it isn't actually rank 4). Both of them have a period of 2/1. In the first case, one of the generators is a 15/13 widened slightly by 1/2 of the comma (used 5 times) and the other one is a 16/13 widened by 1/4 of the comma (used only once). In the second scale, I essentially split the factor into the following intervals: 4/3, 13/16, 4/5, 4/3, 13/16, 4/5, 4/3. I used the repeating sequence of the three intervals and tempered each of them by 1/7 of the comma in order to temper it out. But because 7 tones seemed too few to me, I made a set of 13 tones this way (or actually 14, if I count the 1/1 as the first tone). As a result, I got some pitches repeated. These were eventually removed after I normalized all that into a single octave range, which resulted in a 11-tone scale.

Here's what they sound like. Currently it's just a "handful of ideas" rather than some serious compositions, but maybe something more convincing comes out of me one day.

The first scale - 12-tones per octave: https://www.yousendit.com/download/TTdHak94SU9RYS9IRGc9PQ

The second scale - 11 tones: http://www.yousendit.com/download/TTdHak96Q0NveFBIRGc9PQ

Petr

🔗caleb morgan <calebmrgn@...>

I listened to the first one, and I like it! I hear the 13 at the
end. I like the familiar 3/2's vs. the 13 flavor.
On Jul 8, 2008, at 7:05 AM, Petr Pařízek wrote:

> Hi there,
>
> Yesterday, I was trying to find a tuning which could temper out the
> "small
> comma" of 676/675. In the end, I made two scales. The first one is
> definitely a rank 3 temperament, the second one am I not sure about;
> but I
> think it might be called that as well (though I'm still in doubt if
> it isn't
> actually rank 4). Both of them have a period of 2/1. In the first
> case, one
> of the generators is a 15/13 widened slightly by 1/2 of the comma
> (used 5
> times) and the other one is a 16/13 widened by 1/4 of the comma
> (used only
> once). In the second scale, I essentially split the factor into the
> following intervals: 4/3, 13/16, 4/5, 4/3, 13/16, 4/5, 4/3. I used the
> repeating sequence of the three intervals and tempered each of them
> by 1/7
> of the comma in order to temper it out. But because 7 tones seemed
> too few
> to me, I made a set of 13 tones this way (or actually 14, if I count
> the 1/1
> as the first tone). As a result, I got some pitches repeated. These
> were
> eventually removed after I normalized all that into a single octave
> range,
> which resulted in a 11-tone scale.
>
> Here's what they sound like. Currently it's just a "handful of
> ideas" rather
> than some serious compositions, but maybe something more convincing
> comes
> out of me one day.
>
> The first scale - 12-tones per octave:
> https://www.yousendit.com/download/TTdHak94SU9RYS9IRGc9PQ
>
> The second scale - 11 tones:
> http://www.yousendit.com/download/TTdHak96Q0NveFBIRGc9PQ
>
> Petr
>
>
>
>
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🔗Carl Lumma <carl@...>

🔗Petr Parízek <p.parizek@...>

🔗Carl Lumma <carl@...>

--- In tuning@yahoogroups.com, Petr Parízek <p.parizek@...> wrote:
>
> Carl wrote:
>
> > Tell me the first 45 seconds of this aren't based on
> > a Bach toccata.
>
> My goodness, which one? :-D I didn't think about that at all.
>
> Petr

Don't play dumb with me! ;)

BWV912 in D, final section.

-Carl

Music and scales, 676/675 as an unison vector

🔗Petr Pařízek <p.parizek@...>

🔗caleb morgan <calebmrgn@...>

🔗Carl Lumma <carl@...>

🔗Carl Lumma <carl@...>

🔗Petr Parízek <p.parizek@...>

🔗Carl Lumma <carl@...>

🔗Carl Lumma <carl@...>

🔗Petr Parízek <p.parizek@...>

🔗Carl Lumma <carl@...>

🔗Petr Parízek <p.parizek@...>