Making larger scales by mixing pentatonic scales

Chris>"Sometimes a note will go down a 4th or jump up out of the regular order (ascending by the generator). This makes for some wild chord fingering but it actually
makes musical sense - I think in this way he packs more variety into a
12 note system. You may want to look into the technique."
 
    Sounds good, but at this point I have no clue how to fully apply the technique.  Jacques...if you could please explain how you do this with a numeric example I would greatly appreciate it. :-)
 
   Side note...Scala actually includes a 12-tone "mixed" version of Ptolemy's Homalon scale (one of my favorites), even though the original version only has 7 tones.  If someone could explain how the 12-tone one is derived from the 7-tone one I would greatly appreciate it. :-)

Look at this example Dudon tuning - note the negative scale step.

Quartertone scale with tonic transposition on a turkish segah of 159/128
|
Step size is 100.0000 cents
1: 701.955: 7: 700.0000 cents diff. -0.019550 steps, -1.9550 cents
2: 136.058: 1: 100.0000 cents diff. -0.360581 steps, -36.0582 cents
3: -375.460: -4: -400.0000 cents diff. -0.245404 steps, -24.5405 cents
4: 326.495: 3: 300.0000 cents diff. -0.264954 steps, -26.4955 cents
5: 379.768: 4: 400.0000 cents diff. 0.202316 steps, 20.2316 cents
6: 481.635: 5: 500.0000 cents diff. 0.183649 steps, 18.3649 cents
7: 698.322: 7: 700.0000 cents diff. 0.016782 steps, 1.6782 cents
8: 824.540: 8: 800.0000 cents diff. -0.245404 steps, -24.5405 cents
9: 838.013: 8: 800.0000 cents diff. -0.380131 steps, -38.0132 cents
10: 967.270: 10: 1000.0000 cents diff. 0.327302 steps, 32.7303 cents
11: 979.680: 10: 1000.0000 cents diff. 0.203199 steps, 20.3199 cents
12: 1200.000: 12: 1200.0000 cents diff. 0.000000 steps, 0.0000 cents

On Sat, Jun 5, 2010 at 1:48 PM, Michael <djtrancendance@...> wrote:

>
>
> Chris>"Sometimes a note will go down a 4th or jump up out of the regular
> order (ascending by the generator). This makes for some wild chord fingering
> but it actually
> makes musical sense - I think in this way he packs more variety into a
> 12 note system. You may want to look into the technique."
>
> Sounds good, but at this point I have no clue how to fully apply the
> technique. Jacques...if you could please explain how you do this with a
> numeric example I would greatly appreciate it. :-)
>
> Side note...Scala actually includes a 12-tone "mixed" version of
> Ptolemy's Homalon scale (one of my favorites), even though the original
> version only has 7 tones. If someone could explain how the 12-tone one is
> derived from the 7-tone one I would greatly appreciate it. :-)
>
>
>

Michael wrote :

> Chris>"Sometimes a note will go down a 4th or jump up out of the > regular order (ascending by the generator). This makes for some > wild chord fingering but it actually
> makes musical sense - I think in this way he packs more variety into a
> 12 note system. You may want to look into the technique."
>
> Sounds good, but at this point I have no clue how to fully > apply the technique. Jacques...if you could please explain how you > do this with a numeric example I would greatly appreciate it. :-)

Hi Michael,
In Ethno2 I tried many different techniques, inspired by each tuning and the number of notes available.
The general idea is just : why having the black or white keys dumb while you can use up to 12 keys per octave ?
Most of my tunings use comma-variations of the same notes, to optimise the differential coherence.
These comma variations were placed generally in ascending order, but not always.
And whenever I had some keys left, I used repetitions and octaviations of most important notes.
As much as I could, I tried to have the white keys and black keys playing coherent subset scales.
And one of my mapping preferences was to provide these white keys/ black keys with the most intuitive playing
(ex. like having "semitone feelings" in E:F and B:C, or "minor third feelings" in Eb:F# and Bb:C#), whenever I could.
At other times I used transpositions, or different series of one same recurrent sequence between the white and black keys, etc.
- - - - - - - -
Jacques