source file: mills2.txt Date: Sun, 6 Jul 1997 02:51:39 +0200 Subject: Going to extremes From: "Kami Rousseau" > In the microtonal world, however, because of the unfamiliarity of > the tonal materials, I think, not as much deviation is appropriate, as we > may lose the meaning or structure of the original. C(15) C(15) Bb(13) Cb(14) G(09) A(11) F(06) Gb(08) E(05) F(06) D(02) Eb(04) A(11) D(02) G(08) Cb(14) VI II V I This is the chord progression I've used, in 15TET. For your information, it is the tuning that has the largest wandering tonic, 80 cents. When I first started to explore this tuning, the only documentation I had was Blackwood's chord progressions. I discovered this wandering tonic by accident, while I was writing ii V7 I progressions in various tunings (7TET, 12TET, 18TET and 22TET). By the way, the 22TET version sounds has a very powerful sound. I can send a short .mid with the I IV V I in 22TET (staying on the same tonic) to anyone interested. After thinking for a certain time, I found a melody that was harmonised using only ii V7 I. You've probably heard it, it was last week's microtonal midi moment. Of course, I've used this new musical effect to the limit. I do not want to start a musical revolution, I am just exploring. BTW, I am not deaf, I can hear the very "special" sound that my music has. It feels like you don't end up where you're supposed to. It took me a short while to get used to this new sound. It is understandable that people repudiate music whose basic structure is complex. The fact that music that sounds too normal won't be noticed is also generaly accepted. The problem is that I am now somewhere in between. If, in the back of your mind, you do not believe that valuable music can be composed using wandering tonics, your perception of the tonic will stay at the 1/1, and when it goes down 80 cents, you will feel uncomfortable. But if you have enough fate to accept the descending of the tonic, the wandering will become natural, and it is normal music will make you feel a little uncomfortable, because it will sound "too static". Now, maybe you think that I am crazy. The same musical could be applied in 22TET, and be more "digestible", or more subtile. But 22 does not seem like a challenge to me (for the time being), and I choose to dwelve in this new unexplored territory, to "boldly go where no one has gone before", where tonality is eternaly moving. (There are many other resources, I'll write about them later.) Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Sun, 6 Jul 1997 03:00 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA05501; Sun, 6 Jul 1997 03:01:20 +0200 Date: Sun, 6 Jul 1997 03:01:20 +0200 Received: from ella.mills.edu by ns (smtpxd); id XA05515 Received: (qmail 24385 invoked from network); 6 Jul 1997 01:01:17 -0000 Received: from localhost (HELO ella.mills.edu) (127.0.0.1) by localhost with SMTP; 6 Jul 1997 01:01:17 -0000 Message-Id: Errors-To: madole@mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu