15edo (was: Re: Blackwood 7ths)

I've had some luck with 12 out of 15, and it was in an improvisational
context:

http://www.akjmusic.com/audio/study_for_kyle_gann.mp3

I think sometimes the best approach to a given tuning or temperament is to
not think about it, and respond to the sound, and explore the novel
relationships. In other words, 'paper' theorizing can get in the way of the
more instinctual creative path, and you can end up ruling out systems based
on their theoretical lack, when they can really produce quite fine results.

AKJ
On May 28, 2011 2:09 AM, "Carl Lumma" <carl@...> wrote:
> --- "cityoftheasleep" <igliashon@...> wrote:
>
>> This example was meant to help me see if 15-EDO really sounds
>> like something I want to explore further (since I kept suspecting
>> I would be into it) or if 22-EDO would be worth going back to.
>> I have concluded that the answer to all of these is "no". My
>> feeling with 15-EDO is that even its 7-limit properties don't
>> give it any audible advantage over 12-TET/Dominant temperament.
>> So if you're trying to pimp it as Blacksmith (the "uber-simple
>> 7-limit temperament with 5 otonal and 5 utonal tetrads as well
>> as 5 major and 5 minor 7th chords!) that's a bad idea because
>> it doesn't sound anything like 7-limit JI and you're not
>> fooling anybody. The point comes across, sure, but it's really
>> rough and would probably bother the hell out of most people,
>> so in 15-EDO your best bet is to do as I do and keep the
>> harmony simple. It's just not very good as a full 7-limit
>> temperament.
>
> I agree about blacksmith, but not the part about it meaning
> 22 is no good. And, I like 15 for 5-limit harmony when it's
> done carefully. It's not as accurate as 12 but I really like
> the blackwood comma pump and the melodic nature of the
> blackwood decatonic.
>
> -Carl
>
>
>
>
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I've had some luck with 12 out of 15, and it was in an improvisational
context:

http://www.akjmusic.com/audio/study_for_kyle_gann.mp3

I think sometimes the best approach to a given tuning or temperament is to
not think about it, and respond to the sound, and explore the novel
relationships. In other words, 'paper' theorizing can get in the way of the
more instinctual creative path, and you can end up ruling out systems based
on their theoretical lack, when they can really produce quite fine results.

AKJ
On May 28, 2011 2:09 AM, "Carl Lumma" <carl@...> wrote:

On Sat, May 28, 2011 at 4:10 PM, Aaron Krister Johnson
<aaron@...> wrote:
>
>
> I've had some luck with 12 out of 15, and it was in an improvisational context:
>
> http://www.akjmusic.com/audio/study_for_kyle_gann.mp3
>
> I think sometimes the best approach to a given tuning or temperament is to not think about it, and respond to the sound, and explore the novel relationships. In other words, 'paper' theorizing can get in the way of the more instinctual creative path, and you can end up ruling out systems based on their theoretical lack, when they can really produce quite fine results.

That's one way to look at it. Another way is to play major chords that
go around the 5-note length circle of fifths until your head explodes.
YMMV.

-Mike

Aaron Krister Johnson <aaron@...> wrote:

> I've had some luck with 12 out of 15, and it was in an
> improvisational context:
>
> http://www.akjmusic.com/audio/study_for_kyle_gann.mp3

Wow, great piece! Very Kabalevsky-like. Not so much
7-limit harmony though.

-Carl

Wow! This is an awesome improvisation!!

What is the set up you are using for this?

I would like to chime on the philosophy - I think the only real wrong is
ruling out some way of doing something musical. That is not to say one
should like all methods equally - I'm saying everything in music has *some*
merit. The more you can absorb the more options you have to chose from when
you work.

Chris

On Sat, May 28, 2011 at 4:10 PM, Aaron Krister Johnson
<aaron@...>wrote:

>
>
> I've had some luck with 12 out of 15, and it was in an improvisational
> context:
>
> http://www.akjmusic.com/audio/study_for_kyle_gann.mp3
>
> I think sometimes the best approach to a given tuning or temperament is to
> not think about it, and respond to the sound, and explore the novel
> relationships. In other words, 'paper' theorizing can get in the way of the
> more instinctual creative path, and you can end up ruling out systems based
> on their theoretical lack, when they can really produce quite fine results.
>
> AKJ
>
>

Thanks, Chris...I forgot what year I did this, but it was some time ago.
I've done quite a few improvisations like this....msg me offlist and I can
give you the lowdown, you can sniff around on my site for them.

AKJ

On Sat, May 28, 2011 at 6:17 PM, Chris Vaisvil <chrisvaisvil@...>wrote:

>
>
> Wow! This is an awesome improvisation!!
>
> What is the set up you are using for this?
>
> I would like to chime on the philosophy - I think the only real wrong is
> ruling out some way of doing something musical. That is not to say one
> should like all methods equally - I'm saying everything in music has *some*
> merit. The more you can absorb the more options you have to chose from when
> you work.
>
> Chris
>
> On Sat, May 28, 2011 at 4:10 PM, Aaron Krister Johnson <aaron@...
> > wrote:
>
>>
>>
>> I've had some luck with 12 out of 15, and it was in an improvisational
>> context:
>>
>> http://www.akjmusic.com/audio/study_for_kyle_gann.mp3
>>
>> I think sometimes the best approach to a given tuning or temperament is to
>> not think about it, and respond to the sound, and explore the novel
>> relationships. In other words, 'paper' theorizing can get in the way of the
>> more instinctual creative path, and you can end up ruling out systems based
>> on their theoretical lack, when they can really produce quite fine results.
>>
>> AKJ
>>
>>
>
>
>
>

--
Aaron Krister Johnson
http://www.akjmusic.com
http://www.untwelve.org