BP-inspired chords,Animes,and a introduction

(please correct any errors in the technical terms.I learned everything i
know about tuning
from reading online documents anyway.)

This is a introduction.I�m Mats �ljare,in Eskilstuna,Sweden.My recent
explorations in tuning have been with the program Midi Relay and a regular
midi keyboard,although the key layout limits the range and complicates
thinking very much for temperaments other than 12-note subsets.

I�m looking for some kind of sequencer program that allows me to edit and
play(instantly)work in any tuning.My plans right now is to buy some kind of
electronic organ and retune it to 19 or 31tet,modifying the keyboard in some
way-i have several keyboard layout ideas for 19 and 31 sketched.I also have
some mathematical(call it serial,which is a inaccurate term)investigations
done on them,although i hardly know what they sound like and thus no music
has been written so far.

In the past i have done extensive explorations of harmonic relations and
combinational possibilities in 12tet,studying the music of Wayne
Shorter,Herbie Hancock and the related school of extended jazz-based
harmony.Since i used the think the sonorities of certain 12tet chords were
exclusive to the temperament,i first thought that other(equal or
not)temperaments would have their own exclusive chords.However,more and more
i�ve realized that most(all?)of these chords tend to suggest notes of
complex harmonic ratios(higher than 7,if even so).

This is achieved not by playing the note that lies closest to the
actual(subconsiously)desired harmonic ratio,but by one or two notes outside
it,more closely harmonically related to the desired note.Most"modern
language"chords like Maj-augmented,altered etc.are all examples of this.The
actual harmonic ratios desired are debatable,as i noted in the debate
surrounding the 7+9 chord.

One radical example i�ve been using as a pianist for a while,which usually
puts confusion in the mind of people when i play it,is a 12tet chord that�s
undoubtley tritave-based!From bottom to top,the notes are(in C):

C E Bb Eb G B

Basically a 7+9 chord with added major seventh on the top.This should come
out totally dissonant,since the B not only occupies the space between Bb and
C,it�s also a minor ninth to the Bb which is"forbidden"in any case except
for with the tonic.But as it comes out,G and B are simply related to C and
E.So the chord can be extended into the tritaves...

C E Bb Eb G B F Bb D F# C F...

All in 12tet,but it works even there!I�ve also been working with meantone
tunings.Rather than consisting of small and large or whatever steps,i like
to think of them as iterating a single interval in the modulo of the
octave.I�d like to try interval sizes that�s not based
around the fifths and thirds or the diatonic scale,but around irrational or
higher rational
intervals.I want this to produce basic scales that have more than 7
notes,since i often composed in a 9-tone scale in 12tet.(It�s
augmented-symmetrical,figure out what it is-not much choice).I�ve also
planned computer music that uses several different,irrationally related
intervals to move between a basically infinite number of pitches(or
say,non-modal)in a quasi-serial fashion.

Just yesterday i witnessed a concert with the Swedish trio Animes.Guitarist
David Stacken�s plays a standard fretted guitar,but he uses subtle bend and
harmonic techniques to create a wide range of harmonic illusions.No
descriptions!I only hope they will put out a recording soon.I�m just
rambling on here,so...am i in?

����������������������������������������������������������������������
Mats �ljare
Eskilstuna,Sweden
http://www.angelfire.com/mo/oljare
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com