Ethno2 microtunings

I'll try here to give an idea of the type of tunings you can find in
Ethno2.

There are 155 tunings, classed by geographic areas :

AFRICA (20)
MIDDLE EAST (13)
PERSIA (10)
INDIA (20)
EAST ASIA (15)
SOUTHEAST ASIA (12)
INDONESIA (13)
OCEANIA (12)
SOUTH AMERICA (10)
NORTH AMERICA (12)
EUROPE (18)

Their list and descriptions, along with the abbreviations code I
provided, is absent of the manual and folders - but I will send it to
the competition participants or other Ethno owners.
The geographic classification suggests a simple nomenclature that
would be something like :
AF - ME - PER - IA - EA - SEA - IO - OCE - SA - NA - EU or similar,
followed by the tuning number =
ex. "EU 13" would help you to find back the "Chiffonie" tuning.

A second menu provides the same tunings but classed by "Scale
systems" which are :

well-temperaments (13)
meantone (18)
extended fifths (8)
quartertones (7)
chromatic (17)
heptatonic (46)
hexatonic (8)
pentatonic (23)
multi-system (15)

All tunings are mapped to 12 notes per octave, it means that a
heptatonic scale for example will have double notes (either identical
or more often with pertinent small commas variations), that fill the
rest of the keys.
In most mappings, white keys or black keys if not both propose
comprehensive heptatonic, versus pentatonic scales.

All tunings are in extended JI, however my conception of "extended
JI" might be a little different from the usual, as I litterally have
no prime limits in these tunings. There are also a few "low numbers"-
JI tunings, but most of the material are what I call "harmonic
temperaments".
These apply specific acoustic properties such as :
- differential coherence
- spectral coherence
- harmonic coïncidences
- equal-beating
- synchronous beating
- fractal consistency

To illustrate this I will just take one example, a basic superpyth
tuning in the "extended fifths" family :

! soria.scl
!
12 from a 17-notes cycle, equal-beating extended fifths (705.5685 c.)
sequence
12
!
481/445
4011/3560
2067/1780
1133/890
9503/7120
128/89
533/356
723/445
754/445
1233/712
1703/890
2/1
! Airos recurrent sequence x^3 = 13 - 8x, Dudon 2008
! Eq-b of fourths, and septimal minor thirds with harmonic 7ths :
! 8(4 - 3x) = 3x^3 - 7 = (32x^3 - 56x)/13
! Airos fourths of 494.4315 c. (approx. 640/481),
! cycle here starting from the neutral sixth (A-koron = 723/445)
! -c with the 13th harmonic : (13 * 890) - 9503 = 2067, etc.

This is an example of a recurrent sequence that shows several of the
acoustic properties I described : from a fourth having a particular
differential coherence with 13/8, it has several synchronous-beating
relations between factors 3, 7 and 13, gives also a less than one
cent approximation of 13/12 (7 fifths ~52/3), and generates a close-
to-17-edo cycle.
So for many reasons I was not surprised to hear its evident
resonances with Persian music.

- - - - - - -
Jacques

On Wed Apr 14, 2010 Torsten Anders wrote :

> Dear Jacques,
>
> Could you please send us a list of all the original Ethno2
> microtunings?

Hi Torsten,
I can, but it's just a list of names - see if that inspires you !
This one has also the Scala description lines, it should be better.
Most abbreviations are evident but in case here are the ones I use.
I reply to your question on the MIDI-controlled parameters later.
- - - - - - -
Jacques

JI : Just Intonation, specifically, the extended version of Just
Intonation whose scales have no special harmonic limit.
H : Harmonic, for example, h7 stands for the seventh harmonic overtone.
HT : Harmonic Temperament (usually temperaments are by definition,
non-harmonic), however, because all tunings here are in Just
Intonation, these tunings are considered to be "rational" or
"harmonic" temperaments.
HWT : Harmonic Well Temperament. While a Meantone temperament carries
optimal qualities along an open spiral and shows a rupture point, a
Well-Temperament describes a closed cycle, passing by different
renditions but without forbidden tonalities.
H-L : Harmonic Limit, for example, 19-L means that all intervals have
frequency ratios which use prime factors no higher than 19, etc.
-C : Differentially-coherent, or Differential Coherence. This means
that difference tones generated by consecutive intervals, or others,
belong to the scale ; this is a special quality for these scales,
which has been verified in many traditional scales.
Eq-B : Equal Beating. When certain types of intervals (for example
thirds, fourths, etc.) show beatings that share the same pulsation
beat rates, this is a special quality of such scales, and has proven
to be the case in many historical tunings.

9-EDO, 24-EDO, 31-EDO, etc. : 9-Equal Divisions of the Octave, 24-
Equal Divisions of the Octave, 31-Equal Divisions of the Octave, etc.
Idem with :

7-ET, 12-ET, 19-ET, etc. : Equal Temperaments of 7, 12 or 19, etc.,
tones per octave.

AFRICA

1 Bala semifourth Burkinabe typical semifourth pentatonic bala feast
scale
2 Valiha Typical Malagasy neutral diatonic scale, equal-beating on
minor triads
3 Mandinka Guinean Balafon circular tuning, -c neutral diatonic
interpretation
4 Aka Cylf-scale (Baka sequence-pentatonic Slendro plus pure fifths)
5 Baka Baka typical circular semifourth pentatonic, also acceptable
Slendro
6 12 of 19-ht 12 of 19-tones harmonic temperament, ending in a
Slendro on black keys
7 Bambara Typical pentatonic balafon ceremonial tuning from Mali or
Burkina Faso
8 Gnawa-Pelog Gnawa scale with Pelog variations (Pelog on white keys,
Gnawa on black keys)
9 Marovany Typical Malagasy scale, neutral diatonic, multiways -c
and eq-b
10 Kora snd Kora tuning in the Mandinka semi-neutral diatonic style
11 Kora-chimere Kora diatonic scale, slightly neutral, h.5 -c & eq-b
12 Quasi-eq hepta Quasi-equiheptatonic Chopi bala tuning, -c second
intervals
13 Amlak Amlak major thirds sequence, chromatic matrix for
Ethiopian scales
14 Timbila Mozambican bala semi-neutral -c & eq-b diatonic tuning
15 Palabre Triseptimal circular -c & eq-b pentatonic with 4 soft commas
16 Mauri Mauritanian pentatonic scale, plus ornaments (JI
interpretation)
17 Rebab Folk-style pentatonic from defective neutral diatonic -c
sequence
18 Baziguzuk Quartertones pentatonic scale with very low numbers
19 Aksand Quartertones Aksaka fractal sequence
20 Isrep Fractal modified diminished seventh chord sequence

MIDDLE EAST

1 3-limit with429 Harmonic half-Pythagorean comma temperament, 10pure fourths from D
2 Melkis Sequence of 11 Melkis fourths (-c of minor thirds) from D
3 Rast matrix Neutral third sequence, Rast on white keys and other
maqamat
4 Rast-Mohajira Rast and Mohajira templates, differentially-coherent
quartertones set
5 Egyptian Rast Egyptian style Rast -c heptaphone
6 Bayati in D Bayati (or Husayni) tetrachords in D and A
7 Suleimean Fractal meantone for Turkish Rast with seconds-coherent
Segah tetrachords
8 Byzantine Byzantine scale and Turkish Hijaz in C
9 Saba-c Differential-coherent version of Maqam Saba in C
10 Saba-Busalik Bayati/Saba/Abusalik tetrachords, -c related
11 Saqqara Scale of a ney flute from ancient Egypt found in Saqqara
12 Sumer Neutral diatonic soft Rast scale with Ishku -c variations
13 Zurna Quartertone scale with tonic transposition on a Turkish Segah

PERSIA

1 Soria 12 from a 17-notes cycle, extended equal-beating fifths
(705.57 c.) sequence
2 S-N-Buzurg Decaphonic system inspired by medieval Persian mode
Buzurg (Safi al-Din)
3 Shur Dastgah Shur Dastgah differential coherence interpretation
4 Mahur Dastgah Persian Dastgah Mahur JI interpretation
5 Segah Persian Dastgah Segah JI interpretation
6 Homayun Dastgah Homayun in G, JI interpretation
7 Avaz-e-Afshari Avaz-e-Afshari -c JI interpretation
8 Segah subh Inversed Dudon Neutral Diatonic (mediants of major and
minor)
9 Mounos Mounos extended fifths -c sequence, quasi-septimal minor
diatonic scale
10 Ifbis Fractal Ifbis differentially-coherent 12 tones sequence

INDIA

1 Coherent shrutis 12 of the 22 shrutis (cycle of fifths from A to
D), modal -c with C or 2C
2 Bhairavi Bhairavi That morning and anytime raga (with additional D
and F#)
3 Bhairav Bhairav That early morning raga (17th harmonic vadi-
samvadi model)
4 Kalyana Kalyana That early at night raga
5 Chandrakaus Raga Chandrakaus from Bb on black keys, other version
from D on white keys
6 Todi Todi That morning raga (with G = Todi ; without G = Gujari Todi)
7 Marva Marva That sunset raga, differentially-coherent version
8 Shri Rag Purvi That after sunset indian raga
9 Darbari Kanada Darbari Kanada (midnight raga)
10 Gayakapriya South indian Raga Gayakapriya, also found in Ethiopia
11 Bhavapriya Raga Bhavapriya (South indian) or Bhavani (North indian)
12 Kanakangi Raga Kanakangi (South indian)
13 Satara Rajasthani double flute differentially-coherent tuning
with drone pipe
14 Bhatiyar Early morning North indian raga, with both Ma (F and F#)
15 Kirvanti Raga Kirvanti (known also as Hungarian Gypsy scale)
16 Madhuvanti Madhuvanti (also called Ambika) late evening raga
17 Jog Raga Jog with (ascent only) additional 15/8
18 Lalit Dawn-time North indian Raga, without fifth (Madhyama tuning)
19 Purvi Purvi That sunset time raga, neutral interpretation
20 Nila Falsely major shrutis bluette (Madyama tuning)

EAST ASIA

1 Guzheng Guzheng cithara optimal tuning in F, triple eq-b of minor
and major triads
2 Dan-tranh Dan-Tranh cithara tuning in C, Vietnamese variation
notes F# and C+
3 Okna hwt Harmonic well-temperament for Mongolian lute
4 Nan-Kouan Nan-Kouan (medieval chinese ballade) scale interpretation
5 Skisni hwt Triple eq-b sequence from C to B, optimal major chords
on white keys
6 Comptine h3 1/4 pyth. comma meantone sequence between G and B, plus
8 pure fifths
7 Over-under ht Cycle of fifths, one half above 3/2, the other below
(meantone)
8 Tibet Differentially-coherent minor pentatonic
9 Hiroyoshi Japanese koto most famous mode (also Ethiopian minor
scale, etc.)
10 Shaku Japanese Shakuhachi scale, -c interpretation
11 Kumoyoshi 19-l Japanese famous mode, -c 17+19th harmonics
interpretation
12 Hoomi Hoomi singing scale in F/F# (black keys), or in C & G,
CFGAC eq-b sequence
13 Harmonics Natural harmonics from 12 to 24 (= from C to next octave)
14 Tao Biseptime pentatonic (2 septimal tones interleaved with 3
semifourths)
15 Crying commas Pentatonic differentially-coherent scale with commas
glissando

SOUTHEAST ASIA

1 Evan Thai Evan differentially-coherent double Thai heptaphone
2 Saung Gauk Typical diatonic heptaphone played on the Saung gauk
(burmese harp)
3 Fong Differentially-coherent Thai scale, with inversing double
seventh note
4 Sapaan 7 tones from a sequence of Sapaan very low fifths (in
theory 680.015678 c.)
5 Simdek 7 tones from a sequence of Simdek very low fifths (in
theory 676.485575 c.)
6 Piphat Gazelle-Naggar -c series + comma 953-960, major mode
7 Nung-Phan1 7 tones from a sequence of Nung-Phan very low fifths
(679.5604542 c.)
8 Nung-Phan2 7 tones from a sequence of Nung-Phan very low fifths
(679.5604542 c.)
9 Siam 97 Black keys = 5-quasi-edo, white keys = 7-quasi-edo fractal
sequences
10 Pule Typical Burmese scale frame, compatible with modes Pule,
Thanyu, Autpyin
11 Thanyu Typical Burmese diatonic minor-optimized for modes Thanyu
and Pule
12 Piphat minor Gazelle-Naggar -c series + comma 953-960, minor mode

INDONESIA

1 Slendro matrix Matrix for 7-limit slendros from Lou Harrison, of
the five types N M A S J
2 Slendra Cylf scale (Baka sequence pentatonic Slendro plus pure
fifths)
3 Joged-Bumbung Typical Balinese grantang and tingklik (bamboo
xylophones) slendro tuning
4 Natte Natte series from 28 to 151, pentatonic sequence out of 7
consecutive tones
5 Cometslendro1 Five septimal tone comets (quasi auto-coherent
intervals) in one octave
6 Cometslendro2 Five septimal tone comets (quasi auto-coherent
intervals) in one octave
7 Septimal 2 Slendro made of five septimal tones (8/7), separated by
two commas
8 Septimal 3 Five 8/7 or close approximations separated by three commas
9 Pelog 35 JI -c Pelog with factors 5, 13, 35 and complements
10 Pelog 59 JI -c Pelog with factors 5, 11, 59 and complements
11 Pelog ambiguous Differential-coherent 5 notes Pelog, ambiguous
tonic between C & E
12 Gulu-Nem 5 tones Pelog, sequence of very low Gulu-nem fifths
(about 5/9 of an octave)
13 Myriadgerm Spicy Slendro with large commas, -c and triple eq-b
recurrent sequence

OCEANIA

1 Hawaiian Eq-b lapsteel-style Major 6th chords (C:E:G:A:C:E) full
meantone sequence
2 Lucie Sequence of 11 fractal Lucie meantone fifths from Eb
3 Smallest numbers Chromatic scale achieved with smallest possible
numbers
4 Tit’fleur Differentially-coherent semi-neutral diatonic, small
numbers
5 Sireine F Sequence of 11 Sireine low meantone fifths from F
6 Subharmonics Subharmonics from 24 to 12
7 Are-are women 1 'Are'are women songs as collected by Hugo Zemp in
1977, JI interpretation
8 Are-are women 2 'Are'are women songs as collected by Hugo Zemp in
1977, JI interpretation
9 Are-are tapping tubes 'Are'are tapping bamboo tubes as collected by
Hugo Zemp in 1977
10 Aluna Low major thirds auto-coherent tetrachord diatonic
extrapolation
11 Didjeridu Ambiant microglissando (centered in F) plus neutral
fourths on black keys
12 Tangata-Manu Semi-neutral diatonic tetrachords, -c related around
13 and 77

SOUTH AMERICA

1 Jobim Minor triads-triple eq-b, 1/5 syntonic comma meantone, full
12 tones scale
2 Atlantis Triple eq-b of minor triads + septimal sevenths meantone
sequence from Eb
3 Diatess Sequence of 11 Diatess (-c of minor thirds) meantone
fifths from Eb
4 Armadillo hwt Triple eq-b sequence from C to B, optimal major
chords on white keys
5 Tango hwt Fractal Melkis lowest numbers HWT fifths sequence, from D
6 Chromatic subh. Chromatic subharmonic scale using smallest possible
numbers
7 Brazil Triple eq-b minor triads 1/5 syntonic comma meantone,
limited to 8 tones
8 Harmonic minor "Harmonic" minor scale, also raga Kiravani, Pilu, etc.
9 Quechua Differentially-coherent Quechua pentatonic tuning
interpretation
10 Liane Class-1 differentially-coherent interleaved intervals,
hexatonic scale

NORTH AMERICA

1 Ray Eq-b of all Maj 6th blues or country chords, full meantone
sequence from Eb
2 19-limit Rocky hwt 19-limit well-temp, C to B achieving eq-b of
bluesy DEG-type chords
3 Appalachian Synchronous beating quasi-1/4 syntonic comma meantone
temperament
4 Countrysongs Equal-beating CDEG chords (and all transpositions)
meantone sequence
5 Jamlak Cycle of fifths developped around a 19-limit Amlak sequence
6 Slendro M-meant. Wilson Meta-meantone from Bb to F# extended in a
Slendro M on black keys
7 Meancaline 12 of 19-tones quasi-equal meantone HT with -c
semifourths on black keys
8 Country Blues Differentially-coherent 12 tones country blues scale
9 Lakota American native flute and singing JI -c interpretation
10 Jazz Modal jazz in 7 tones, with differential coherence variations
11 Mississippi Minor blues -c chromatic selection, with 19-limit commas
12 Harry Hommage to Harry Partch, 20th c. Just Intonation pioneer
(1901-1974)

EUROPE

1 Werckmeister3 eb Harmonic equal-beating meta-version of the famous
Well Temperament
2 Comptine 1/4 pyth. comma meantone sequence from C to E, completedby 8 pure fifths
3 Michemine Triple equal-beating of all minor triads meantone
sequence from Eb
4 Melkis 3f Sequence of 6 Melkis fourths from G, then 3 pure fourths
between C# and E
5 Kellner eb JI version of Anton Kellner 1/5 Pyth.c well-temp, based
on Skisni sequence
6 Skisni Triple equal-beating sequence of eleven 1/5 Pyth c.
meantone fifths from Eb
7 Golden h7 eq-b 12 of 19/31/50 etc... Golden meantone harmonic 7-c
and eq-b version
8 Flamenca Flamenco chromatic scale around the 17th harmonic, in A
(= guitar)
9 Didymus 7-harmonic limit Greek style type of scale and rich in commas
10 Tielenka Tielenka (Romanian harmonic flute) scale and ornaments
JI imitation
11 Aulos Double clarinet -c version of Ptolemy's Diatonon Homalon
12 Mougi Tsigan-style raga, based on the 19/16 minor third -c properties
13 Chiffonie Hurdy-Gurdy variation on fractal Gazelle sequence
(Rebab tuning)
14 Balkani Typical Balkani minor-major folk mode, JI interpretation
15 Romios Folk music heptaphone from the Balkans, JI interpretation
16 Kanonaki Typical Kanonaki Greek tetrachords set, with optional
ornaments
17 Napolitan Napolitan scale, class-1 differential coherence ; whole
tone scale by omitting C
18 Synchronous 12 Synchronous-beating alternative to 12-ET (default
tuning)

Dear Jacques,

Thanks for this list!

I read that there were two categories, a category of geographic areas
and "Scale systems". Is the second category already part of this list
you send?

Also, you mention EDOs (ETs) in your list of terms: I understand that
always only a subset of 12 different pitches per octave is available
of, say, 19-EDO, 22-EDO, 31-EDO, and 41-EDO? Is is possible to
manually specify this subset?

Thank you!

Best wishes,
Torsten

--
Torsten Anders
Interdisciplinary Centre for Computer Music Research
University of Plymouth
Office: +44-1752-586219
Private: +44-1752-558917
http://strasheela.sourceforge.net
http://www.torsten-anders.de

On 15.04.2010, at 12:03, Jacques Dudon wrote:

>
> On Wed Apr 14, 2010 Torsten Anders wrote :
>
>
>
>> Dear Jacques,
>>
>> Could you please send us a list of all the original Ethno2
>> microtunings?
>
> Hi Torsten,
> I can, but it's just a list of names - see if that inspires you !
> This one has also the Scala description lines, it should be better.
> Most abbreviations are evident but in case here are the ones I use.
> I reply to your question on the MIDI-controlled parameters later.
> - - - - - - -
> Jacques
>
>
> JI : Just Intonation, specifically, the extended version of Just
> Intonation whose scales have no special harmonic limit.
> H : Harmonic, for example, h7 stands for the seventh harmonic
> overtone.
> HT : Harmonic Temperament (usually temperaments are by definition,
> non-harmonic), however, because all tunings here are in Just
> Intonation, these tunings are considered to be "rational" or
> "harmonic" temperaments.
> HWT : Harmonic Well Temperament. While a Meantone temperament
> carries optimal qualities along an open spiral and shows a rupture
> point, a Well-Temperament describes a closed cycle, passing by
> different renditions but without forbidden tonalities.
> H-L : Harmonic Limit, for example, 19-L means that all intervals
> have frequency ratios which use prime factors no higher than 19, etc.
> -C : Differentially-coherent, or Differential Coherence. This means
> that difference tones generated by consecutive intervals, or others,
> belong to the scale ; this is a special quality for these scales,
> which has been verified in many traditional scales.
> Eq-B : Equal Beating. When certain types of intervals (for example
> thirds, fourths, etc.) show beatings that share the same pulsation
> beat rates, this is a special quality of such scales, and has proven
> to be the case in many historical tunings.
>
> 9-EDO, 24-EDO, 31-EDO, etc. : 9-Equal Divisions of the Octave, 24-
> Equal Divisions of the Octave, 31-Equal Divisions of the Octave,
> etc. Idem with :
>
> 7-ET, 12-ET, 19-ET, etc. : Equal Temperaments of 7, 12 or 19, etc.,
> tones per octave.
>
> AFRICA
>
> 1 Bala semifourth Burkinabe typical semifourth pentatonic bala feast
> scale
> 2 Valiha Typical Malagasy neutral diatonic scale, equal-beating on
> minor triads
> 3 Mandinka Guinean Balafon circular tuning, -c neutral diatonic
> interpretation
> 4 Aka Cylf-scale (Baka sequence-pentatonic Slendro plus pure fifths)
> 5 Baka Baka typical circular semifourth pentatonic, also acceptable
> Slendro
> 6 12 of 19-ht 12 of 19-tones harmonic temperament, ending in a
> Slendro on black keys
> 7 Bambara Typical pentatonic balafon ceremonial tuning from Mali or
> Burkina Faso
> 8 Gnawa-Pelog Gnawa scale with Pelog variations (Pelog on white
> keys, Gnawa on black keys)
> 9 Marovany Typical Malagasy scale, neutral diatonic, multiways -c
> and eq-b
> 10 Kora snd Kora tuning in the Mandinka semi-neutral diatonic style
> 11 Kora-chimere Kora diatonic scale, slightly neutral, h.5 -c & eq-b
> 12 Quasi-eq hepta Quasi-equiheptatonic Chopi bala tuning, -c second
> intervals
> 13 Amlak Amlak major thirds sequence, chromatic matrix for
> Ethiopian scales
> 14 Timbila Mozambican bala semi-neutral -c & eq-b diatonic tuning
> 15 Palabre Triseptimal circular -c & eq-b pentatonic with 4 soft
> commas
> 16 Mauri Mauritanian pentatonic scale, plus ornaments (JI
> interpretation)
> 17 Rebab Folk-style pentatonic from defective neutral diatonic -c
> sequence
> 18 Baziguzuk Quartertones pentatonic scale with very low numbers
> 19 Aksand Quartertones Aksaka fractal sequence
> 20 Isrep Fractal modified diminished seventh chord sequence
>
>
> MIDDLE EAST
>
> 1 3-limit with429 Harmonic half-Pythagorean comma temperament, 10
> pure fourths from D
> 2 Melkis Sequence of 11 Melkis fourths (-c of minor thirds) from D
> 3 Rast matrix Neutral third sequence, Rast on white keys and other
> maqamat
> 4 Rast-Mohajira Rast and Mohajira templates, differentially-coherent
> quartertones set
> 5 Egyptian Rast Egyptian style Rast -c heptaphone
> 6 Bayati in D Bayati (or Husayni) tetrachords in D and A
> 7 Suleimean Fractal meantone for Turkish Rast with seconds-coherent
> Segah tetrachords
> 8 Byzantine Byzantine scale and Turkish Hijaz in C
> 9 Saba-c Differential-coherent version of Maqam Saba in C
> 10 Saba-Busalik Bayati/Saba/Abusalik tetrachords, -c related
> 11 Saqqara Scale of a ney flute from ancient Egypt found in Saqqara
> 12 Sumer Neutral diatonic soft Rast scale with Ishku -c variations
> 13 Zurna Quartertone scale with tonic transposition on a Turkish
> Segah
>
>
> PERSIA
>
> 1 Soria 12 from a 17-notes cycle, extended equal-beating fifths
> (705.57 c.) sequence
> 2 S-N-Buzurg Decaphonic system inspired by medieval Persian mode
> Buzurg (Safi al-Din)
> 3 Shur Dastgah Shur Dastgah differential coherence interpretation
> 4 Mahur Dastgah Persian Dastgah Mahur JI interpretation
> 5 Segah Persian Dastgah Segah JI interpretation
> 6 Homayun Dastgah Homayun in G, JI interpretation
> 7 Avaz-e-Afshari Avaz-e-Afshari -c JI interpretation
> 8 Segah subh Inversed Dudon Neutral Diatonic (mediants of major and
> minor)
> 9 Mounos Mounos extended fifths -c sequence, quasi-septimal minor
> diatonic scale
> 10 Ifbis Fractal Ifbis differentially-coherent 12 tones sequence
>
>
> INDIA
>
> 1 Coherent shrutis 12 of the 22 shrutis (cycle of fifths from A to
> D), modal -c with C or 2C
> 2 Bhairavi Bhairavi That morning and anytime raga (with additional
> D and F#)
> 3 Bhairav Bhairav That early morning raga (17th harmonic vadi-
> samvadi model)
> 4 Kalyana Kalyana That early at night raga
> 5 Chandrakaus Raga Chandrakaus from Bb on black keys, other version
> from D on white keys
> 6 Todi Todi That morning raga (with G = Todi ; without G = Gujari
> Todi)
> 7 Marva Marva That sunset raga, differentially-coherent version
> 8 Shri Rag Purvi That after sunset indian raga
> 9 Darbari Kanada Darbari Kanada (midnight raga)
> 10 Gayakapriya South indian Raga Gayakapriya, also found in Ethiopia
> 11 Bhavapriya Raga Bhavapriya (South indian) or Bhavani (North indian)
> 12 Kanakangi Raga Kanakangi (South indian)
> 13 Satara Rajasthani double flute differentially-coherent tuning
> with drone pipe
> 14 Bhatiyar Early morning North indian raga, with both Ma (F and F#)
> 15 Kirvanti Raga Kirvanti (known also as Hungarian Gypsy scale)
> 16 Madhuvanti Madhuvanti (also called Ambika) late evening raga
> 17 Jog Raga Jog with (ascent only) additional 15/8
> 18 Lalit Dawn-time North indian Raga, without fifth (Madhyama tuning)
> 19 Purvi Purvi That sunset time raga, neutral interpretation
> 20 Nila Falsely major shrutis bluette (Madyama tuning)
>
>
> EAST ASIA
>
> 1 Guzheng Guzheng cithara optimal tuning in F, triple eq-b of minor
> and major triads
> 2 Dan-tranh Dan-Tranh cithara tuning in C, Vietnamese variation
> notes F# and C+
> 3 Okna hwt Harmonic well-temperament for Mongolian lute
> 4 Nan-Kouan Nan-Kouan (medieval chinese ballade) scale interpretation
> 5 Skisni hwt Triple eq-b sequence from C to B, optimal major chords
> on white keys
> 6 Comptine h3 1/4 pyth. comma meantone sequence between G and B,
> plus 8 pure fifths
> 7 Over-under ht Cycle of fifths, one half above 3/2, the other below
> (meantone)
> 8 Tibet Differentially-coherent minor pentatonic
> 9 Hiroyoshi Japanese koto most famous mode (also Ethiopian minor
> scale, etc.)
> 10 Shaku Japanese Shakuhachi scale, -c interpretation
> 11 Kumoyoshi 19-l Japanese famous mode, -c 17+19th harmonics
> interpretation
> 12 Hoomi Hoomi singing scale in F/F# (black keys), or in C & G,
> CFGAC eq-b sequence
> 13 Harmonics Natural harmonics from 12 to 24 (= from C to next octave)
> 14 Tao Biseptime pentatonic (2 septimal tones interleaved with 3
> semifourths)
> 15 Crying commas Pentatonic differentially-coherent scale with
> commas glissando
>
>
> SOUTHEAST ASIA
>
> 1 Evan Thai Evan differentially-coherent double Thai heptaphone
> 2 Saung Gauk Typical diatonic heptaphone played on the Saung gauk
> (burmese harp)
> 3 Fong Differentially-coherent Thai scale, with inversing double
> seventh note
> 4 Sapaan 7 tones from a sequence of Sapaan very low fifths (in
> theory 680.015678 c.)
> 5 Simdek 7 tones from a sequence of Simdek very low fifths (in
> theory 676.485575 c.)
> 6 Piphat Gazelle-Naggar -c series + comma 953-960, major mode
> 7 Nung-Phan1 7 tones from a sequence of Nung-Phan very low fifths
> (679.5604542 c.)
> 8 Nung-Phan2 7 tones from a sequence of Nung-Phan very low fifths
> (679.5604542 c.)
> 9 Siam 97 Black keys = 5-quasi-edo, white keys = 7-quasi-edo
> fractal sequences
> 10 Pule Typical Burmese scale frame, compatible with modes Pule,
> Thanyu, Autpyin
> 11 Thanyu Typical Burmese diatonic minor-optimized for modes Thanyu
> and Pule
> 12 Piphat minor Gazelle-Naggar -c series + comma 953-960, minor mode
>
>
> INDONESIA
>
> 1 Slendro matrix Matrix for 7-limit slendros from Lou Harrison, of
> the five types N M A S J
> 2 Slendra Cylf scale (Baka sequence pentatonic Slendro plus pure
> fifths)
> 3 Joged-Bumbung Typical Balinese grantang and tingklik (bamboo > xylophones) slendro tuning
> 4 Natte Natte series from 28 to 151, pentatonic sequence out of 7
> consecutive tones
> 5 Cometslendro1 Five septimal tone comets (quasi auto-coherent
> intervals) in one octave
> 6 Cometslendro2 Five septimal tone comets (quasi auto-coherent
> intervals) in one octave
> 7 Septimal 2 Slendro made of five septimal tones (8/7), separated
> by two commas
> 8 Septimal 3 Five 8/7 or close approximations separated by three
> commas
> 9 Pelog 35 JI -c Pelog with factors 5, 13, 35 and complements
> 10 Pelog 59 JI -c Pelog with factors 5, 11, 59 and complements
> 11 Pelog ambiguous Differential-coherent 5 notes Pelog, ambiguous > tonic between C & E
> 12 Gulu-Nem 5 tones Pelog, sequence of very low Gulu-nem fifths
> (about 5/9 of an octave)
> 13 Myriadgerm Spicy Slendro with large commas, -c and triple eq-b
> recurrent sequence
>
>
> OCEANIA
>
> 1 Hawaiian Eq-b lapsteel-style Major 6th chords (C:E:G:A:C:E) full
> meantone sequence
> 2 Lucie Sequence of 11 fractal Lucie meantone fifths from Eb
> 3 Smallest numbers Chromatic scale achieved with smallest possible
> numbers
> 4 Tit’fleur Differentially-coherent semi-neutral diatonic, small
> numbers
> 5 Sireine F Sequence of 11 Sireine low meantone fifths from F
> 6 Subharmonics Subharmonics from 24 to 12
> 7 Are-are women 1 'Are'are women songs as collected by Hugo Zemp in
> 1977, JI interpretation
> 8 Are-are women 2 'Are'are women songs as collected by Hugo Zemp in
> 1977, JI interpretation
> 9 Are-are tapping tubes 'Are'are tapping bamboo tubes as collected
> by Hugo Zemp in 1977
> 10 Aluna Low major thirds auto-coherent tetrachord diatonic
> extrapolation
> 11 Didjeridu Ambiant microglissando (centered in F) plus neutral
> fourths on black keys
> 12 Tangata-Manu Semi-neutral diatonic tetrachords, -c related around
> 13 and 77
>
>
> SOUTH AMERICA
>
> 1 Jobim Minor triads-triple eq-b, 1/5 syntonic comma meantone,
> full 12 tones scale
> 2 Atlantis Triple eq-b of minor triads + septimal sevenths meantone
> sequence from Eb
> 3 Diatess Sequence of 11 Diatess (-c of minor thirds) meantone
> fifths from Eb
> 4 Armadillo hwt Triple eq-b sequence from C to B, optimal major
> chords on white keys
> 5 Tango hwt Fractal Melkis lowest numbers HWT fifths sequence, from D
> 6 Chromatic subh. Chromatic subharmonic scale using smallest
> possible numbers
> 7 Brazil Triple eq-b minor triads 1/5 syntonic comma meantone,
> limited to 8 tones
> 8 Harmonic minor "Harmonic" minor scale, also raga Kiravani, Pilu,
> etc.
> 9 Quechua Differentially-coherent Quechua pentatonic tuning
> interpretation
> 10 Liane Class-1 differentially-coherent interleaved intervals,
> hexatonic scale
>
>
> NORTH AMERICA
>
> 1 Ray Eq-b of all Maj 6th blues or country chords, full meantone
> sequence from Eb
> 2 19-limit Rocky hwt 19-limit well-temp, C to B achieving eq-b of
> bluesy DEG-type chords
> 3 Appalachian Synchronous beating quasi-1/4 syntonic comma meantone
> temperament
> 4 Countrysongs Equal-beating CDEG chords (and all transpositions)
> meantone sequence
> 5 Jamlak Cycle of fifths developped around a 19-limit Amlak sequence
> 6 Slendro M-meant. Wilson Meta-meantone from Bb to F# extended in a
> Slendro M on black keys
> 7 Meancaline 12 of 19-tones quasi-equal meantone HT with -c
> semifourths on black keys
> 8 Country Blues Differentially-coherent 12 tones country blues scale
> 9 Lakota American native flute and singing JI -c interpretation
> 10 Jazz Modal jazz in 7 tones, with differential coherence variations
> 11 Mississippi Minor blues -c chromatic selection, with 19-limit> commas
> 12 Harry Hommage to Harry Partch, 20th c. Just Intonation pioneer
> (1901-1974)
>
>
> EUROPE
>
> 1 Werckmeister3 eb Harmonic equal-beating meta-version of the famous
> Well Temperament
> 2 Comptine 1/4 pyth. comma meantone sequence from C to E, completed
> by 8 pure fifths
> 3 Michemine Triple equal-beating of all minor triads meantone
> sequence from Eb
> 4 Melkis 3f Sequence of 6 Melkis fourths from G, then 3 pure
> fourths between C# and E
> 5 Kellner eb JI version of Anton Kellner 1/5 Pyth.c well-temp,
> based on Skisni sequence
> 6 Skisni Triple equal-beating sequence of eleven 1/5 Pyth c.
> meantone fifths from Eb
> 7 Golden h7 eq-b 12 of 19/31/50 etc... Golden meantone harmonic 7-c
> and eq-b version
> 8 Flamenca Flamenco chromatic scale around the 17th harmonic, in A
> (= guitar)
> 9 Didymus 7-harmonic limit Greek style type of scale and rich in
> commas
> 10 Tielenka Tielenka (Romanian harmonic flute) scale and ornaments
> JI imitation
> 11 Aulos Double clarinet -c version of Ptolemy's Diatonon Homalon
> 12 Mougi Tsigan-style raga, based on the 19/16 minor third -c
> properties
> 13 Chiffonie Hurdy-Gurdy variation on fractal Gazelle sequence
> (Rebab tuning)
> 14 Balkani Typical Balkani minor-major folk mode, JI interpretation
> 15 Romios Folk music heptaphone from the Balkans, JI interpretation
> 16 Kanonaki Typical Kanonaki Greek tetrachords set, with optional
> ornaments
> 17 Napolitan Napolitan scale, class-1 differential coherence ;
> whole tone scale by omitting C
> 18 Synchronous 12 Synchronous-beating alternative to 12-ET (default
> tuning)
>
>
>
>
>
>

That's a really impressive list.

I'd like to hear this Ethno2 thingy.

http://www.motu.com/products/software/ethno/buy-ethno.html

hmm.

On Apr 15, 2010, at 7:03 AM, Jacques Dudon wrote:

>
> On Wed Apr 14, 2010 Torsten Anders wrote :
>
>
>
>> Dear Jacques,
>>
>> Could you please send us a list of all the original Ethno2
>> microtunings?
>
> Hi Torsten,
> I can, but it's just a list of names - see if that inspires you !
> This one has also the Scala description lines, it should be better.
> Most abbreviations are evident but in case here are the ones I use.
> I reply to your question on the MIDI-controlled parameters later.
> - - - - - - -
> Jacques
>
>
> JI : Just Intonation, specifically, the extended version of Just Intonation whose scales have no special harmonic limit.
> H : Harmonic, for example, h7 stands for the seventh harmonic overtone.
> HT : Harmonic Temperament (usually temperaments are by definition, non-harmonic), however, because all tunings here are in Just Intonation, these tunings are considered to be "rational" or "harmonic" temperaments.
> HWT : Harmonic Well Temperament. While a Meantone temperament carries optimal qualities along an open spiral and shows a rupture point, a Well-Temperament describes a closed cycle, passing by different renditions but without forbidden tonalities.
> H-L : Harmonic Limit, for example, 19-L means that all intervals have frequency ratios which use prime factors no higher than 19, etc.
> -C : Differentially-coherent, or Differential Coherence. This means that difference tones generated by consecutive intervals, or others, belong to the scale ; this is a special quality for these scales, which has been verified in many traditional scales.
> Eq-B : Equal Beating. When certain types of intervals (for example thirds, fourths, etc.) show beatings that share the same pulsation beat rates, this is a special quality of such scales, and has proven to be the case in many historical tunings.
>
> 9-EDO, 24-EDO, 31-EDO, etc. : 9-Equal Divisions of the Octave, 24-Equal Divisions of the Octave, 31-Equal Divisions of the Octave, etc. Idem with :
>
> 7-ET, 12-ET, 19-ET, etc. : Equal Temperaments of 7, 12 or 19, etc., tones per octave.
>
> AFRICA
>
> 1 Bala semifourth Burkinabe typical semifourth pentatonic bala feast scale
> 2 Valiha Typical Malagasy neutral diatonic scale, equal-beating on minor triads
> 3 Mandinka Guinean Balafon circular tuning, -c neutral diatonic interpretation
> 4 Aka Cylf-scale (Baka sequence-pentatonic Slendro plus pure fifths)
> 5 Baka Baka typical circular semifourth pentatonic, also acceptable Slendro
> 6 12 of 19-ht 12 of 19-tones harmonic temperament, ending in a Slendro on black keys
> 7 Bambara Typical pentatonic balafon ceremonial tuning from Mali or Burkina Faso
> 8 Gnawa-Pelog Gnawa scale with Pelog variations (Pelog on white keys, Gnawa on black keys)
> 9 Marovany Typical Malagasy scale, neutral diatonic, multiways -c and eq-b
> 10 Kora snd Kora tuning in the Mandinka semi-neutral diatonic style
> 11 Kora-chimere Kora diatonic scale, slightly neutral, h.5 -c & eq-b
> 12 Quasi-eq hepta Quasi-equiheptatonic Chopi bala tuning, -c second intervals
> 13 Amlak Amlak major thirds sequence, chromatic matrix for Ethiopian scales
> 14 Timbila Mozambican bala semi-neutral -c & eq-b diatonic tuning
> 15 Palabre Triseptimal circular -c & eq-b pentatonic with 4 soft commas
> 16 Mauri Mauritanian pentatonic scale, plus ornaments (JI interpretation)
> 17 Rebab Folk-style pentatonic from defective neutral diatonic -c sequence
> 18 Baziguzuk Quartertones pentatonic scale with very low numbers
> 19 Aksand Quartertones Aksaka fractal sequence
> 20 Isrep Fractal modified diminished seventh chord sequence
>
>
> MIDDLE EAST
>
> 1 3-limit with429 Harmonic half-Pythagorean comma temperament, 10 pure fourths from D
> 2 Melkis Sequence of 11 Melkis fourths (-c of minor thirds) from D
> 3 Rast matrix Neutral third sequence, Rast on white keys and other maqamat
> 4 Rast-Mohajira Rast and Mohajira templates, differentially-coherent quartertones set
> 5 Egyptian Rast Egyptian style Rast -c heptaphone
> 6 Bayati in D Bayati (or Husayni) tetrachords in D and A
> 7 Suleimean Fractal meantone for Turkish Rast with seconds-coherent Segah tetrachords
> 8 Byzantine Byzantine scale and Turkish Hijaz in C
> 9 Saba-c Differential-coherent version of Maqam Saba in C
> 10 Saba-Busalik Bayati/Saba/Abusalik tetrachords, -c related
> 11 Saqqara Scale of a ney flute from ancient Egypt found in Saqqara
> 12 Sumer Neutral diatonic soft Rast scale with Ishku -c variations
> 13 Zurna Quartertone scale with tonic transposition on a Turkish Segah
>
>
> PERSIA
>
> 1 Soria 12 from a 17-notes cycle, extended equal-beating fifths (705.57 c.) sequence
> 2 S-N-Buzurg Decaphonic system inspired by medieval Persian mode Buzurg (Safi al-Din)
> 3 Shur Dastgah Shur Dastgah differential coherence interpretation
> 4 Mahur Dastgah Persian Dastgah Mahur JI interpretation
> 5 Segah Persian Dastgah Segah JI interpretation
> 6 Homayun Dastgah Homayun in G, JI interpretation
> 7 Avaz-e-Afshari Avaz-e-Afshari -c JI interpretation
> 8 Segah subh Inversed Dudon Neutral Diatonic (mediants of major and minor)
> 9 Mounos Mounos extended fifths -c sequence, quasi-septimal minor diatonic scale
> 10 Ifbis Fractal Ifbis differentially-coherent 12 tones sequence
>
>
> INDIA
>
> 1 Coherent shrutis 12 of the 22 shrutis (cycle of fifths from A to D), modal -c with C or 2C
> 2 Bhairavi Bhairavi That morning and anytime raga (with additional D and F#)
> 3 Bhairav Bhairav That early morning raga (17th harmonic vadi-samvadi model)
> 4 Kalyana Kalyana That early at night raga
> 5 Chandrakaus Raga Chandrakaus from Bb on black keys, other version from D on white keys
> 6 Todi Todi That morning raga (with G = Todi ; without G = Gujari Todi)
> 7 Marva Marva That sunset raga, differentially-coherent version
> 8 Shri Rag Purvi That after sunset indian raga
> 9 Darbari Kanada Darbari Kanada (midnight raga)
> 10 Gayakapriya South indian Raga Gayakapriya, also found in Ethiopia
> 11 Bhavapriya Raga Bhavapriya (South indian) or Bhavani (North indian)
> 12 Kanakangi Raga Kanakangi (South indian)
> 13 Satara Rajasthani double flute differentially-coherent tuning with drone pipe
> 14 Bhatiyar Early morning North indian raga, with both Ma (F and F#)
> 15 Kirvanti Raga Kirvanti (known also as Hungarian Gypsy scale)
> 16 Madhuvanti Madhuvanti (also called Ambika) late evening raga
> 17 Jog Raga Jog with (ascent only) additional 15/8
> 18 Lalit Dawn-time North indian Raga, without fifth (Madhyama tuning)
> 19 Purvi Purvi That sunset time raga, neutral interpretation
> 20 Nila Falsely major shrutis bluette (Madyama tuning)
>
>
> EAST ASIA
>
> 1 Guzheng Guzheng cithara optimal tuning in F, triple eq-b of minor and major triads
> 2 Dan-tranh Dan-Tranh cithara tuning in C, Vietnamese variation notes F# and C+
> 3 Okna hwt Harmonic well-temperament for Mongolian lute
> 4 Nan-Kouan Nan-Kouan (medieval chinese ballade) scale interpretation
> 5 Skisni hwt Triple eq-b sequence from C to B, optimal major chords on white keys
> 6 Comptine h3 1/4 pyth. comma meantone sequence between G and B, plus 8 pure fifths
> 7 Over-under ht Cycle of fifths, one half above 3/2, the other below (meantone)
> 8 Tibet Differentially-coherent minor pentatonic
> 9 Hiroyoshi Japanese koto most famous mode (also Ethiopian minor scale, etc.)
> 10 Shaku Japanese Shakuhachi scale, -c interpretation
> 11 Kumoyoshi 19-l Japanese famous mode, -c 17+19th harmonics interpretation
> 12 Hoomi Hoomi singing scale in F/F# (black keys), or in C & G, CFGAC eq-b sequence
> 13 Harmonics Natural harmonics from 12 to 24 (= from C to next octave)
> 14 Tao Biseptime pentatonic (2 septimal tones interleaved with 3 semifourths)
> 15 Crying commas Pentatonic differentially-coherent scale with commas glissando
>
>
> SOUTHEAST ASIA
>
> 1 Evan Thai Evan differentially-coherent double Thai heptaphone
> 2 Saung Gauk Typical diatonic heptaphone played on the Saung gauk (burmese harp)
> 3 Fong Differentially-coherent Thai scale, with inversing double seventh note
> 4 Sapaan 7 tones from a sequence of Sapaan very low fifths (in theory 680.015678 c.)
> 5 Simdek 7 tones from a sequence of Simdek very low fifths (in theory 676.485575 c.)
> 6 Piphat Gazelle-Naggar -c series + comma 953-960, major mode
> 7 Nung-Phan1 7 tones from a sequence of Nung-Phan very low fifths (679.5604542 c.)
> 8 Nung-Phan2 7 tones from a sequence of Nung-Phan very low fifths (679.5604542 c.)
> 9 Siam 97 Black keys = 5-quasi-edo, white keys = 7-quasi-edo fractal sequences
> 10 Pule Typical Burmese scale frame, compatible with modes Pule, Thanyu, Autpyin
> 11 Thanyu Typical Burmese diatonic minor-optimized for modes Thanyu and Pule
> 12 Piphat minor Gazelle-Naggar -c series + comma 953-960, minor mode
>
>
> INDONESIA
>
> 1 Slendro matrix Matrix for 7-limit slendros from Lou Harrison, of the five types N M A S J
> 2 Slendra Cylf scale (Baka sequence pentatonic Slendro plus pure fifths)
> 3 Joged-Bumbung Typical Balinese grantang and tingklik (bamboo xylophones) slendro tuning
> 4 Natte Natte series from 28 to 151, pentatonic sequence out of 7 consecutive tones
> 5 Cometslendro1 Five septimal tone comets (quasi auto-coherent intervals) in one octave
> 6 Cometslendro2 Five septimal tone comets (quasi auto-coherent intervals) in one octave
> 7 Septimal 2 Slendro made of five septimal tones (8/7), separated by two commas
> 8 Septimal 3 Five 8/7 or close approximations separated by three commas
> 9 Pelog 35 JI -c Pelog with factors 5, 13, 35 and complements
> 10 Pelog 59 JI -c Pelog with factors 5, 11, 59 and complements
> 11 Pelog ambiguous Differential-coherent 5 notes Pelog, ambiguous tonic between C & E
> 12 Gulu-Nem 5 tones Pelog, sequence of very low Gulu-nem fifths (about 5/9 of an octave)
> 13 Myriadgerm Spicy Slendro with large commas, -c and triple eq-b recurrent sequence
>
>
> OCEANIA
>
> 1 Hawaiian Eq-b lapsteel-style Major 6th chords (C:E:G:A:C:E) full meantone sequence
> 2 Lucie Sequence of 11 fractal Lucie meantone fifths from Eb
> 3 Smallest numbers Chromatic scale achieved with smallest possible numbers
> 4 Tit’fleur Differentially-coherent semi-neutral diatonic, small numbers
> 5 Sireine F Sequence of 11 Sireine low meantone fifths from F
> 6 Subharmonics Subharmonics from 24 to 12
> 7 Are-are women 1 'Are'are women songs as collected by Hugo Zemp in 1977, JI interpretation
> 8 Are-are women 2 'Are'are women songs as collected by Hugo Zemp in 1977, JI interpretation
> 9 Are-are tapping tubes 'Are'are tapping bamboo tubes as collected by Hugo Zemp in 1977
> 10 Aluna Low major thirds auto-coherent tetrachord diatonic extrapolation
> 11 Didjeridu Ambiant microglissando (centered in F) plus neutral fourths on black keys
> 12 Tangata-Manu Semi-neutral diatonic tetrachords, -c related around 13 and 77
>
>
> SOUTH AMERICA
>
> 1 Jobim Minor triads-triple eq-b, 1/5 syntonic comma meantone, full 12 tones scale
> 2 Atlantis Triple eq-b of minor triads + septimal sevenths meantone sequence from Eb
> 3 Diatess Sequence of 11 Diatess (-c of minor thirds) meantone fifths from Eb
> 4 Armadillo hwt Triple eq-b sequence from C to B, optimal major chords on white keys
> 5 Tango hwt Fractal Melkis lowest numbers HWT fifths sequence, from D
> 6 Chromatic subh. Chromatic subharmonic scale using smallest possible numbers
> 7 Brazil Triple eq-b minor triads 1/5 syntonic comma meantone, limited to 8 tones
> 8 Harmonic minor "Harmonic" minor scale, also raga Kiravani, Pilu, etc.
> 9 Quechua Differentially-coherent Quechua pentatonic tuning interpretation
> 10 Liane Class-1 differentially-coherent interleaved intervals, hexatonic scale
>
>
> NORTH AMERICA
>
> 1 Ray Eq-b of all Maj 6th blues or country chords, full meantone sequence from Eb
> 2 19-limit Rocky hwt 19-limit well-temp, C to B achieving eq-b of bluesy DEG-type chords
> 3 Appalachian Synchronous beating quasi-1/4 syntonic comma meantone temperament
> 4 Countrysongs Equal-beating CDEG chords (and all transpositions) meantone sequence
> 5 Jamlak Cycle of fifths developped around a 19-limit Amlak sequence
> 6 Slendro M-meant. Wilson Meta-meantone from Bb to F# extended in a Slendro M on black keys
> 7 Meancaline 12 of 19-tones quasi-equal meantone HT with -c semifourths on black keys
> 8 Country Blues Differentially-coherent 12 tones country blues scale
> 9 Lakota American native flute and singing JI -c interpretation
> 10 Jazz Modal jazz in 7 tones, with differential coherence variations
> 11 Mississippi Minor blues -c chromatic selection, with 19-limit commas
> 12 Harry Hommage to Harry Partch, 20th c. Just Intonation pioneer (1901-1974)
>
>
> EUROPE
>
> 1 Werckmeister3 eb Harmonic equal-beating meta-version of the famous Well Temperament
> 2 Comptine 1/4 pyth. comma meantone sequence from C to E, completed by 8 pure fifths
> 3 Michemine Triple equal-beating of all minor triads meantone sequence from Eb
> 4 Melkis 3f Sequence of 6 Melkis fourths from G, then 3 pure fourths between C# and E
> 5 Kellner eb JI version of Anton Kellner 1/5 Pyth.c well-temp, based on Skisni sequence
> 6 Skisni Triple equal-beating sequence of eleven 1/5 Pyth c. meantone fifths from Eb
> 7 Golden h7 eq-b 12 of 19/31/50 etc... Golden meantone harmonic 7-c and eq-b version
> 8 Flamenca Flamenco chromatic scale around the 17th harmonic, in A (= guitar)
> 9 Didymus 7-harmonic limit Greek style type of scale and rich in commas
> 10 Tielenka Tielenka (Romanian harmonic flute) scale and ornaments JI imitation
> 11 Aulos Double clarinet -c version of Ptolemy's Diatonon Homalon
> 12 Mougi Tsigan-style raga, based on the 19/16 minor third -c properties
> 13 Chiffonie Hurdy-Gurdy variation on fractal Gazelle sequence (Rebab tuning)
> 14 Balkani Typical Balkani minor-major folk mode, JI interpretation
> 15 Romios Folk music heptaphone from the Balkans, JI interpretation
> 16 Kanonaki Typical Kanonaki Greek tetrachords set, with optional ornaments
> 17 Napolitan Napolitan scale, class-1 differential coherence ; whole tone scale by omitting C
> 18 Synchronous 12 Synchronous-beating alternative to 12-ET (default tuning)
>
>
>
>
>
>

On Thu Apr 15, 2010, Torsten Anders wrote :

> Dear Jacques,
>
> Thanks for this list!
>
> I read that there were two categories, a category of geographic areas
> and "Scale systems". Is the second category already part of this list
> you send?

Yes, only a different access.

>
> Also, you mention EDOs (ETs) in your list of terms: I understand that
> always only a subset of 12 different pitches per octave is available
> of, say, 19-EDO, 22-EDO, 31-EDO, and 41-EDO? Is is possible to
> manually specify this subset?
>
> Thank you!
>
> Best wishes,
> Torsten

What you refer to is only a list of abbreviations, not a list of actual tunings.
By writing your own Scala files you will have Ethno playing whatever you wish.
About the mappings, my choice for the factory tunings was to propose only 12 tones per octave, for all scales. But Ethno2 accepts Scala files of 5 to 12 tones, plus 24 tones per octave in standard, and should normally accept any other user mappings, however I am not certain it works at present.
As far as I remember, when I mentionned "12 of 17", "12 of 19", "12 of 22" or "12 of 50", etc., in each of these cycles the 12 tones where always from continuous sequences of fifths. And never from equal divisions, but I think you understood that.
For the quartertones subsets (mostly in Middle East section), I use of course different mappings. For example the "Rast_matrix" is a continuous cycle of 11 neutral thirds.
- - - - - - -
Jacques

Caleb wrote :

> That's a really impressive list.
>
> I'd like to hear this Ethno2 thingy.
>
> http://www.motu.com/products/software/ethno/buy-ethno.html
>
> hmm.

Only a small % of this planet's tunings - I would have done more, but I was asked to resume !
Me too, I'd like to hear this thing now. May be you've noticed the actual MOTU demos aren't very microtonal.
So, welcome ! There are some free boxes left !
- - - - - - -
Jacques

That 'hmm' was the rare and rusty sound of me thinking.

I went ahead and ordered the Ethno2.

caleb

On Apr 16, 2010, at 9:19 AM, Jacques Dudon wrote:

> Caleb wrote :
>
>
>> That's a really impressive list.
>>
>> I'd like to hear this Ethno2 thingy.
>>
>> http://www.motu.com/products/software/ethno/buy-ethno.html
>>
>> hmm.
>
>
>
> Only a small % of this planet's tunings - I would have done more, but I was asked to resume !
> Me too, I'd like to hear this thing now. May be you've noticed the actual MOTU demos aren't very microtonal.
> So, welcome ! There are some free boxes left !
> - - - - - - -
> Jacques
>
>
>
>
>
>

On Fri Apr 16, 2010 Caleb Morgan wrote :

> That 'hmm' was the rare and rusty sound of me thinking.
>
> I went ahead and ordered the Ethno2.
>
> caleb
Really ? the AEH would have sent you one for free !
May be you can resale yours and still be candidate...
Anyway I hope you will participate to this funny competition...
I remember hearing some of your music and it got me really interested.
- - - - - - -
Jacques