Re: Fw: [tuning] Why the Golden Ratio Scale works (WITH audio example)

--I do think, with all due respect, Micheal's orientation is towards modern --pop not Renaissance music.

   Indeed I am AVOIDING try to recreate history and purposefully ignoring a lot of historical standards for the sake of extracting a scale that's hopefully easier to play and better sounding than any "historically correct" scale.

   I am trying to promote a tuning and scales under it which can be used to play a chordal background and leads (much like in pop music).
   I want to make/extract a scale from the existing Golden Ratio tuning that stresses ease of use among contemporary musicians over correctness accord to past standards.
   Chris, if you assumed either of these things; you are correct: I am trying to extract a mainstream scale which provides micro-tonal flexibility and more chordal/melodic possibilities without compromising consonance or contrast.

   In fact just to clear things up, here are some of the goals I have I am looking to accomplish with scales under the Golden Ratio Tuning
   A) Make virtually all notes in the scale come together to form a huge chord (where, of course, all subset chords forming that chord would also be consonant) so finding good chords becomes incredibly easy
   B) Make a scale with intervals organized in such a way they are easily singable and easy to play melodically over said chords in part a (hence why my scale under the tuning ended up being an MOS scale)
  C) Make the scale transpose-able within the tuning IE you can move each note in the scale up one-step in the tuning and still get the same amount of consonance and feel, in the same way you can with a 7-tone scale under 12TET.

  D) Have a good amount of notes that sound very relaxed (thank you Chris for this idea), and yet also 1-2 which sound more tense, thus allowing a musician to easily "cherry pick" which notes to use to introduce tension vs. consonance and easily provide contrast.

  E) Plain and simple, make a scale where you can just "jam"...play virtually any combination of notes together and it will sound good, instead of constantly worrying about if your chords have the right intervals between notes in the right order (something that scares many people from making music in 12TET).
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    What I am >>NOT<< trying to do is
A) Produce intervals similar to 12TET/mean-tone/JI intervals such as "3rds" going on the close-minded assumption that is the ONLY way to produce consonance.
B) Produce a scale that wraps around the 2/1 octave (in fact I am using 1.618033 as the octave)
C) Re-enforce age-old historical experiments that try to achieve maximum dissonance using the golden-ratio scale.  In fact, I am in general going for maximum consonance with 1-2 extra notes in the 9-tone scale which are comparatively dissonant and can be used strategically to add tension.

-Michael

--- On Mon, 2/9/09, Chris Vaisvil <chrisvaisvil@...> wrote:

From: Chris Vaisvil <chrisvaisvil@...>
Subject: Re: Fw: [tuning] Why the Golden Ratio Scale works (WITH audio example)
To: tuning@yahoogroups.com
Date: Monday, February 9, 2009, 12:55 PM

Petr, I humbly disagree. In reading again the definition of homophonic, this describes pop music.

monodic, judging by the definition just posted is a subset of homophonic.

I do think, with all due respect, Micheal's orientation is towards modern pop not Renaissance music.

Chris

On Mon, Feb 9, 2009 at 2:45 PM, Petr Parízek <p.parizek@chello. cz> wrote:

To Chris and Michael,
 
you should not confuse "homophonic" with "monodic"
music ... Which I'm afraid has just happened.
 
Petr