Alternate harmonization of superpyth[7] leading to different tonal structures?

Hi all,

Superpyth[7] has 4:6:7 and 4:6:7:9 and 4:7:9 chords everywhere. In
contrast, meantone[7] has 4:5:6 chords everywhere. Has anyone explored
alternate, xenharmonic tonal structures from superpyth[7] based off of
this? This might be a good way to bring the recent discussion about
scale structure and HE and priming and Rothenberg into the realm of
testable hypothesis. And also I think it's just a cool idea too.

-Mike

--- In tuning@yahoogroups.com, Mike Battaglia <battaglia01@...> wrote:

> Superpyth[7] has 4:6:7 and 4:6:7:9 and 4:7:9 chords everywhere. In
> contrast, meantone[7] has 4:5:6 chords everywhere. Has anyone explored
> alternate, xenharmonic tonal structures from superpyth[7] based off of
> this?

I gave the 11-limit, not the 7-limit version, but "Pompey" on the chromatic pairs page is relevant. If you don't want to mess with 11, a generator of about 233.688 cents could be used instead, or maybe 37/190.

On Sat, Mar 5, 2011 at 10:39 PM, genewardsmith
<genewardsmith@...> wrote:
>
> --- In tuning@yahoogroups.com, Mike Battaglia <battaglia01@...> wrote:
>
> > Superpyth[7] has 4:6:7 and 4:6:7:9 and 4:7:9 chords everywhere. In
> > contrast, meantone[7] has 4:5:6 chords everywhere. Has anyone explored
> > alternate, xenharmonic tonal structures from superpyth[7] based off of
> > this?
>
> I gave the 11-limit, not the 7-limit version, but "Pompey" on the chromatic pairs page is relevant. If you don't want to mess with 11, a generator of about 233.688 cents could be used instead, or maybe 37/190.

This is awesome. It is very relevant. The 6-note MOS sounds a lot here
like messing with the superpyth example. The 11-note MOS evokes, of
course, the sounds of Athenian ruins. Play 4:6:7:8:9 and transpose it
up and down the scale.

Sometimes, in this scale, the 4:6:7 takes on a completely different
feeling than with superpyth. Not that I actually think it's a major 7
from a cognitive standpoint, but major 7 chords usually sound kind of
sad and yet happy, and in this scale 4:6:7 sounds the same way. Man, I
am really tripping out. Like, imagine hearing major chords, but for
some reason they sound sad all of a sudden. That's where I'm at.

Man, this whole chromatic pairs approach is the best thing to happen
to tuning theory since I joined the list.

-Mike

--- In tuning@yahoogroups.com, Mike Battaglia <battaglia01@...> wrote:

> Man, this whole chromatic pairs approach is the best thing to happen
> to tuning theory since I joined the list.

It's partly psychology. I using rodan and some other temperaments on a subgroup, and I don't think anyone ever tried it.