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==Moving the tune from one instrument to another, and hocketing==
==Moving the tune from one instrument to another, and hocketing==
Show the [[Window 9 | Parts]] window. Then look at the Order of Play menu., and see what you have selected there. If this is a new tune, then you'll find it shows <font color="#FF8000">'''By Layer '''</font>. You can hear this in the
Show the [[Window 9 | Parts]] window. Then look at the Order of Play menu., and see what you have selected there. If this is a new tune, then you'll find it shows <font color="#FF8000">'''By Layer '''</font>. You can hear this in the 1.082b/oboe_and_friendsfractal tune. The tune continues normally in the top line, but the start of every seed that begins a new seed at a higher layer gets played by one of the other instruments instead of the oboe. You get this kind of syncopated effect with the oboe often missing the first note of its seeds. So, try that out to hear what it sounds like with your instrumentation.
Many of the fractal tunes use the next selection in this list, <font color="#FF8000">'''By layer with simultaneous notes '''</font>Try that instead - you will find the first part plays all its notes, accompanied by the second part playing the same tune,but more slowly - now the extra notes played by the ohter parts get sustained all the way to the next note for that part. And so on - you'll hear a canon by augmentation in fact with your chosen instruments, as explained in [
Many of the fractal tunes use the next selection in this list, <font color="#FF8000">'''By layer with simultaneous notes '''</font>Try that instead - you will find the first part plays all its notes, accompanied by the second part playing the same tune,but more slowly - now the extra notes played by the ohter parts get sustained all the way to the next note for that part. And so on - you'll hear a canon by augmentation in fact with your chosen instruments, as explained in .
Okay, that's pretty nice, many of the tunes use it. However, let's explore the other options here.
Okay, that's pretty nice, many of the tunes use it. However, let's explore the other options here.
Revision as of 16:47, 3 August 2008
Who is this for
This is particularly meant as a gentle introduction for those who are completely new to fractal music and algo comp. It also introduces you to the fractal tune making capabilities of Tune Smithy, so you learn about Tune Smithy, and fractal music at the same time.
There is no need at all to have any musical training to compose in this way. So I assume that you are a complete newbie to composing as well. If already an old hand at composing, but new to fractal music, you may find some of it of interest still, as algo comp requires new ideas and approaches - but you may want to skip some of the sections (e.g. on instrumentation).
Before you start
If this is your first time, start up the Player task for FTS. Your desktop shortcut may bring up this task. Or look for it in the Tasks for Tune Smithy folder on your desktop.
Then make sure you are set to the screen that looks like this (if necessary use the More or Less buttons to get to it):
The whole tune is based on a small amount of musical material
Fractal tunes belong to a genre known as Algorithmic Composition (or algo-comp). There's a connection with fractal art too, and you could perhaps think of it as a form of musical minimalism - as you get a lot of compositional material from a very small amount of input.
So for instance all the notes in this tune:
are constructed from the four note phrase that begins it. The four note "seed" is the only material used to make the entire tune - which starts as:
You can probably see or hear how the same basic pattern is used over and over again in each bar (the step sizes change a little but the pattern of steps up and down remains the same). It's less immediately obvious, but the way the seed phrases are put together - the way the tune goes up and down from one bar to the next - also follows the same pattern. The same pattern is then used again and again at larger and larger time scales to build up the entire tune.
The method used to construct the tune is simple (conceptually anyway), yet the tune still has the capacity to surprise, as it repeats at larger and larger time scales at different pitches.
Comparison with fractal landscapes
Perhaps some of you have enjoyed making fractal landscapes, using programs such as Terragen. An entire landscape can be constructed from a randomly generated fractal texture, by varying some user set parameters.
This is the sort of thing you can make straight away with Terragen as downloaded, with no plug ins or extra effects:
Then you can add various effects such as different types of terrain etc.
For many examples, see Terragen Images Gallery
Fractal landscape made in Terragen (public domain image by Robert Kleinberg)::
Fractal music programs such as Tune Smithy let you work with tunes in a similar fashion. You can make an entire tune, continuing endlessly, with perhaps many instruments playing at once, just by setting various parameters.
There are many types of fractal music. For some sites to visit to get an idea of the range of work that is done in this field, see the Thinks.com Fractal Music page.
Comparision with L-system like fractal trees
Here is a fractal flower made with my Virtual Flower program:
It's made from one leaf shape, one petal shape, one branch, and a few angles and dimensions which specify how to join them together. You select the petals, flowers, leaves and branches or make your own - and click and drag on the picture to change the shape of the entire plant all in one go.
For another program which makes images in a similar fashion, see Laurens Lapré's L-parser
Similarly with Tune Smithy, you make or select a musical seed or a few seeds. Then you adjust parameters which specify how the seeds build up to make a tune.
If you change the seed and other parameters, the entire tune changes
Most of the tunes you make with Fractal Tune Smithy are based on a musical seed phrase of a few notes. Change the seed, or change how the tune is built, or how instruments are selected to play the notes, and the whole tune changes.
This happens because of the way the musical seed is used for the construction of the tune at many time scales simultaneously. You can hear this quite easily with a few of the simpler tunes such as some of the ones in 1.082a and 1.082b drop lists (e.g. ascending above the clouds). In the more complex tunes, it is much harder to hear this, or even pick out the seed phrase at all sometimes. The various parameters can interact in complex ways, and the instruments often pick out lines in the texture which you can't easily relate to the original seed.
In fact, most of the tunes, because of the fractal construction used, take the form of augmentation, or sloth canons, with exactly the same tune played simultaneously at many different tempi. You can easily hear this too in the ascending above the clouds tune, and some of the other earlier ones. Mute all except the first part. Listen to the tune. Then mute all except the second part and play the tune a bit faster and you should hear exactly the same tune as before (possibly at a different pitch). You can repeat this for each part - ascending above the clouds is a strict sloth canon.
Again in the more complex tunes, the instrumentation and other parameters (especially the chord progressions) may disguise the canon so that it is hard to hear, or impossible to pick out at all, but it is the musical basis for the construction nevertheless. The tunes are also related to an intricate visual pattern called the Koch snowflake fractal. In fact, the icon for Tune Smithy (which you can see as the icon for this wiki too) is a Koch snowflake. If you want to explore these connections, see:
Since the tunes are based on such a small amount of actual musical material, then if you change anything, the whole tune changes. Just change one note of the seed and you'll notice the whole tune change. This is very like the fractal landsapes and l-system plants. In fact l-systems derive originally from the Koch snowflake too.
No musical training is needed
You can make fractal art and fractal landscapes with no previous training as an artist - and the same is true of fractal music. You need no training at all as a musician to make fractal music. Perhaps it may inspire you to learn to compose more conventionally later on. Or if you already are a composer, you may use the fractal tunes in your compositions or use them to make new pieces just as they are.
This section will assume nothing in the way of previous experience of music making or composing. I will try to keep it interesting for the more seasoned musicians and composers too. Algo-comp is new to nearly everyone including many seasoned composers. However, if you are a seasoned composer you will probably want to skip some of the sections.
Fractal Composing compared with loop based compositions
Usually if one improvises or composes a piece of music, you choose which notes to play individually. Another way of working, used by many composers nowadays, is to work with repeating loops. The way the loops interact may lead to many surprises, but still, every note of each loop is set individually by the composer. For instance you can easily change a single note for a few repeats of the loop, then go back to the original loop. Or you can change one loop without varying any of the other parts of the tune.
In algo-comp and fractal music, the notes are more interrelated than they are with loops based compositions, so you can no longer adjust individual notes and expect the rest of the composition to remain unchanged. This is perhaps the main thing you need to get used to with fractal music, and it requires a new way of working. A lot of experimentation is often needed, and serendipity, and maybe intuition too, which you develop as you work with the tunes.
You can change individual notes in the seed phrase easily enough, the only thing is, then the whole tune changes.
The only way to change an individual note in the tune is to generate the complete fractal tune first. Once the fractal tune is made, you can edit it, as you might any other midi piece, in your composition software or sequencer. (If you want to follow that up, there are some issues there to do with the way the notes need to switch channels for pitch polyphony, but that's the basic idea).
How to save your work
It is especially important to save fractal tunes, and to use the correct format to save them. If you make a fractal tune you particularly like, even if you remember how it went, or have an audio recording of it, it can be very hard indeed to reconstruct it unless you know the parameters that were used to make the tune. If you use the more complex construction methods, e.g. formulae, then it is for all practical purposes impossible (I know of no automatic way to recover the parameters used to make the tune from a recording of the result).
So before we start the tutorial, you should know how to save your work. Then, if you make something you particularly like in the tutorial, you will know how to save it.
Save as Tune Smithy Fractal Tunes
To save your work, use (Ctrl + A). Be sure to save your work as Tune Smithy Fractal tunes (*.ts). You can save over the old version again at any time using Crl + S.
Of course you can save as a midi file or mp3 as well. But ALWAYS SAVE IT AS A FRACTAL TUNE (OR PROJECT) AS WELL if you want to be able to go back to it and work on it some more later on.
Or save as a Project
Alternatively you may want to save your tune as a project. This saves nearly all the settings including the skin, colours, and so on. That can be useful sometimes, e.g. perhaps to have a different skin for each tune, if working on different tunes simultaneoulsy. You can configure what gets saved to the project from Project Options (Ctrl + 195)
First exercise, vary the seed
In our first exercise, we investigate the way in which the tune varies as you change the seed. Start up the fractal tune player - from your desktop shortcut - or look for Player in your Tasks for Tune Smithy folder.
Select any tune from the drop list of fractal tunes (circled in red below).
Now select a seed for one of the other tunes, from the drop list of seeds (circled in blue). Notice how this changes the entire tune for all the instruments.
Now try editing the numbers for the seed. Keep the first number as it is (usually 0) and change one of the other numbers. You can do this while the tune is still playing.
Or - do this using Seed as bar charts (Ctrl + 76), click on any of the tune notes in the seed numbers area of this window, and drag up and down:
Once more, hear how the entire tune changes even when you change a single note of the seed.
Using your fractal tunes in conventional compositions
As you will realise, this needs a new way of working. But you can use the material from the fractal tunes more conventionally if you like.
Making fractal tunes
Here though, we'll focus just on the process of making the fractal tunes themselves.
Fractal music work needs a much more experimentalist approach than other types of music making. Don't be afraid to just try out anything. After all it is easy to change things. If you do something that sounds particularly nice, save it for future reference and continue exploring. If you want to go back to a previous stage of the tune you are working on you can undo your changes using Ctrl + Shift + Z (repeatedly if necessary) and redo them using Ctrl + Shift + Y.
If curious about how the tunes are constructed, look at Seeds and fractals for an introduction.
Making seeds for the tunes
You can also make new seeds with the Mouse & PC keyboard Player using New Seed (Ctrl + 3) - see [Seeds.htm#Making_new_seeds_for_the_melody Make new seed], also from a music keyboard if you have those - see [Seeds.htm#Making_new_seeds_from_midi_keyboard Make new seed from Music Keyboard].
Seasoned composers and musicians can skip the next couple of sections - a gentle start is needed, since you don't have to be a trained musician to use Fractal Tune Smithy to make fractal tunes - any more than you need to be a trained artist to make fractal art.
If you are a newbie to orchestration - this next section is for you.
Now lets explore instrumentation of the fractal tunes.
Let's start with solo music. Choose one of the example fractal tunes with a solo instrument, or mute all except the first part in the tune, or choose. Choose a seed from the drop list or make a new one - any seed is fine for this exercise.
Try selecting other instruments from the Instruments (Ctrl + 8) menu, and hear what the same tune sounds like on various instruments. Try continuously flowing instruments like flute or string, and plucked instruments like harp, and percussive instruments like marimba. Notice how the tune changes. Do you prefer some tunes on the plucked instruments and others on the more continuously flowing type instruments?
Try the instruments at different octaves. You can shift them up or down in pitch in the Octave shift column in Parts (Ctrl + 9)
Several instruments in unison
Try out some of the instruments in the Custom multi-instrument voices menu. Most of them consist of several instruments that play the same tune, in unison, or at octaves (sometimes other intervals and some are more complex than that).
This is a very common composition technique. Many folk musicians play the same tune in unison, apart maybe from the harp or piano which plays chords. In the orchestra, composers often double up instruments for effect, e.g. flute + oboe etc. The instruments, though you can hear them separately too, blend together to make a new sound.
Now, try music with more than one part in play. You can just change to another tune with many parts and use that as a starting point.
Or if you want to make a multi-part tune from one of your solo tunes, go to Parts (Ctrl + 9), and increase the number of parts the fractal tune plays - or unmute the other parts.
You may also need to change the selection in the Parts (Ctrl + 9) - try - or for more complex effects, try in the same menu. Another way to get interesting multi-part music is to use Rhythms and Polyrhythms (Ctrl + 89) from Tune options, drone, && Undo / Backups (Ctrl + 33).menu for
For chords, try Chord Progressions for Arpeggios (Ctrl + 151) - you need to have a tune with many parts playing simultaneously already - then use this to adjust the chords that the parts play.
You can use the fractal tunes as your sandbox to experiment with orchestration
The fractal tunes provide an ideal environment for a beginner composer to experiment with orchestration - you don't need to think much about the notes - just focus on the sounds of the different instruments, and how they mix with each other. You may also find you appreciate listening to orchestral music more as a result of experimenting with orchestration yourself in this way.
A brief introduction to musical instruments and instrumentation for newbies
As a newbie to composing, you may wonder how best to mix instruments together in your pieces. If you are at a bit of a loss here, it may help to think about which families the instruments belong to.
Then you can think about what the effect will be to mix together instruments of the same family, or different families. Of course if you are happy with your instrument selections for your fractal tunes, feel free to skip this section :-).
Some of the main types of instrument include:
- Percussive instruments such as marimba, glockenspiel etc
- Plucked instruments such as guitar, harp etc
- Wind instruments such as flute, trombone etc, and perhaps one could put voice here too
- String instruments.
Each of these has further subdivisions, for instance, the wind instruments are subdivided into
- Woodwinds - flute, oboe, clarinet etc
- Brass - trumpet, trombone etc.
The Cor Anglais, or French Horn as it is otherwise known, despite the name, is actually a type of oboe so counts as a woodwind instrument.
The Instruments (Ctrl + 8) menu is grouped using the families of the General Midi specification. This is a standard arrangement assumed by nearly all the midi clips you find on the internet use - but it has its eccentricities. E.g. the ethnic classification (why is the koto instrument is counted as ethnic rather than strings - when the Shakhuachi, which is often played along with koto - is counted as a wind instrument rather than ethnic?).
For more about instrument families, see the wikipedia article Musical Instrument
Sometimes composers make ensemble pieces in which only one type of instrument is used, such as a consort of recorders, viols, trombones or whatever.
Or you can combine instruments of the same family together in an Instrumental ensemble]. The string quartet consists entirely of string instruments - the violin (two of them - the first and second violin), viola, and 'cello.
Other ensembles may consist entirely of woodwinds - or brass instruments (think of a brass band), or a combination of both. There the instruments blend nicely together - yet there is something pleasing about the individuality within the blend, for instance the distinctive sound of a viola in a quartet, or a tuba in a brass band.
In other pieces, instruments are used that contrast / complement each other nicely. Some instruments are very companionable as it were, for instance, flute and harp go nicely together.
Generally, it can be nice to combine a plucked or percussive instrument like harp, marimba etc with a melodic instrumnt with a more legato smoothly flowing type of sound such a flute, violin etc. Also it's nice to combine strings with wind instruments - and of course the orchestra has instruments from all the families, often played in episodes in which some of the players take a rest while others play in some contrasting arrangement, or as a little consort of woodwinds suddenly in the midst of it all, or whatever.
Each instrument has a natural range. Within its natural range it is at its most "comfortable" and natural sounding. But when you play exceedingly high or low notes you may get interesting effects. For instance, the double bass is a low pitched instrument. You can play it high, but this is rarely done - it has an interesting rather "thin" kind of a sound when it is played like that. You even get double bass concertos in which the double bass is the solo instrument, mostly played high.
For an example of an instrument played below its natural range - the flute is usually played high, with middle C as the lowest note - but you can get alto flutes and even bass flutes that go very low. Similarly for other instruments. For instance, the clarinet is usually a high pitched instrument - like the flute though it goes a bit lower. But there are bass clarinets as well, and Stravinsky uses a bass clarinet to great effect in his The Rite of Spring.
Some instruments change completely in timbre depending on the register - the Basson has a very distinctive timbre in its lower register. When played high however, it sounds almost like a new instrument (this is used to great effect by Stravinsky in the opening of The Rite of Spring).
So that's something to bear in mind. You can either play the instruments close to their natural range - or for effect you can play them higher or lower.
To move individual parts up or down by octaves, go to the Parts window, and highlight the part,and change the (either use the up / down button or type new value in the box below the list).
To find out more about an individual instrument, it's range and other details see the Wikipedia List of musical instruments
So now for our next exercise - to experiment with orchestration. Choose any of the fractal tunes from the drop list, or one of your own tunes from your earlier experiments. Show the Parts window. This window shows all the instruments used in the tune - the only ones used are the ones up to the number of parts in play.
Vary the instruments in the Parts window
Select one of the parts, and then change the instrument for the part. To do that, select a new one from the Instruments menu - or type the instrument name into the text box below the Instr. list in the parts window.
Also see what happens when you vary the octave shift. For instance you can try out the Bassoon and see what happens when you play high and low notes.
You can do this while the tune is playing, and hear how it changes as you vary the instruments. If you can't quite pick out one of the parts when all the instruments are playing simultaneously, use the Mute button to mute some of the parts. Once you can hear them, put the others back as they were and see if you can still hear it in the complete piece. Or - try playing the whole tune with all the parts in place, then mute just that one part you find hard to hear, and see what effect that has on the whole tune.
Sometimes one of the instuments in a composition is a "solo" instrument that carries the tune - think of a singer accompanied by harp, lute, guitar or piano for instance. Often the accompanying instruments have their own solo sections when they carry the melody for a while.
With the fractal tunes, generally the fastest tune is the more prominent solo one - but sometimes one of the middle speed ones is. Generally, the one that is at the right speed for the tune to be "singable" is the solo instrument - singable that is in terms of speed at least. Sometimes the tune stays with one instrument, or with fractal tunes, the main tune gets moved around amongst various instruments.
So, think about which instrument one wants to use for the solo line. Often it tends to be a higher pitched instrument. When you have lots of instruments playing at once, it is somewhat easier to make one of the higher instruments the solo line. If you make a low instrument your solo, you need to take care to make sure it can be heard easily. For instance make the higher instruments quieter, or constrasting in character and not so prominent (e.g. plucked or piano etc).
Solo lines that pass from one part to another
In other tunes, the solo line is passed from one part to another. To get this sort of effect, the best approach is usually to work with Parts (Ctrl + 9). Try some of the example fractal tunes that work like this, usually you will see that that option is selected. Then try varying the formula for them and hear how the tune changes.in
Often the accompanying instruments are lower in pitch - though you often also have many notes which are higher in pitch than the main melodic line - e.g. maybe a piano or guitar will play high notes above the range of the singer they accompany.
You may want to play some of the accompanying instruments more quietly - you can do this using the Parts (Ctrl + 9).for the individual parts in
Which instruments to use for the solo and which for the accompaniment
If you have a combination of a plucked or percussive instrument with a more continuous string / wind / voice instrument, the more continuous one has a tendency to carry the main melodic line more frequently - one could hardly call that a rule as if so, it is frequently broken, but something to think about.
So, experiment with various instruments for the main melodic line and try conventional type arrangements where the main melody is continous and high-ish, and also more unconventional ones where it is percussive or plucked or low.
Try various instruments for the accompaniment, and just get a feel of which ones help and which ones obscure the main line, when combined with the other instruments.
The main thing here is just to have fun and try out lots of things. Some of your instrument combinations may sound terrible to you, but if so that's interesting too. Sometimes instruments that clash badly in one tune, just don't fit the atmosphere of the tune, may be just what you need for another tune with a different feel to it.
Pieces with no strong melodic focus
Some pieces too may have more of a chordal than a melodic focus, and may have no strong melodic line at all. See if you can make an ensemble type piece where all the parts are played by the same instrument. The easiest way to get started may be to go through the example tunes and find one that is like that already. Either just use it as it is or vary the parameters to make your own tune.
Then when you have settled on a tune to experiment with, try it out with various choices of instrument for the ensemble. You can change the voice for several parts in one go by highlighting them all at once. Click on the first part in Parts (Ctrl + 9) then Shift + click on the last - then select a new voice as usual, e.g. using Instruments (Ctrl + 8). You will find it gets selected for all the highlighted parts in one go.
Some of the instrumentations chosen for the fractal tunes that come with Fractal Tune Smithy are fairly conventional and some are already unconventional. Have a listen to some of them and see which ones you think sound more conventional and which sound rather unconventional in the instrumentation. Then change the instruments and try your own experiments with them and with your own new tunes - either way - conventional sounding or unconventional.
Have fun :-).
A quick way to build up a fractal tune one voice at a time
Start with File | New . Choose which instrument you want for the first part from the Voices menu. Now make sure you have Voices | Auto Sel Las t selected. Increase the Number of Parts to play one at a time, and each time select a voice from the Voices menu until you have the number of parts in play as desired - you can do all this while the tune is playing. Then transpose the parts as desired by showing the Parts window and using the Octave Shift column as usual. If you want to transpose the entire tune up or down - all the parts at once - use the Pitch window.
Moving the tune from one instrument to another, and hocketing
Show the Parts window. Then look at the Order of Play menu., and see what you have selected there. If this is a new tune, then you'll find it shows By Layer . You can hear this in the 1.082b/oboe_and_friends (mp3) fractal tune. The tune continues normally in the top line, but the start of every seed that begins a new seed at a higher layer gets played by one of the other instruments instead of the oboe. You get this kind of syncopated effect with the oboe often missing the first note of its seeds. So, try that out to hear what it sounds like with your instrumentation.
Many of the fractal tunes use the next selection in this list, By layer with simultaneous notes Try that instead - you will find the first part plays all its notes, accompanied by the second part playing the same tune,but more slowly - now the extra notes played by the ohter parts get sustained all the way to the next note for that part. And so on - you'll hear a canon by augmentation in fact with your chosen instruments, as explained in Seeds and fractals.
Okay, that's pretty nice, many of the tunes use it. However, let's explore the other options here.
. By Note height - the same note in the arpeggio always gets played by the same instrument. By time - the tune just cycles round amongst the instruments, each playing one of the notes in turn. Cummulative note height is a more complex way of assigning notes to the instruments. Anyway the general idea is that the tune gets broken up by being assigned to each instrument in turn. This is known as hocketting. See the help for this window for a little about those options: [User_guide2.htm#Order_of_play_menu Order of play menu].
Try those various options - then try the Other option. This lets you make up your own combinations of the other options. Actually, you don't need to try to keep track of what the formula will do. Just enter some formula using the various letters such as t+m+h or N+H+L or whatever, and see what happens. You can try it out with any of the pieces. There are various other options in this window to explore - see it's help [User_guide2.htm#Order_of_Play_Other Order of play | Other]. The option to Sustain all notes to next note for same part can be used to get several parts playing together.
Also at this point one could also digress to explore Bs | Seeds Options | Seed pos increment as well, perhaps with By layer with simultaneous notes - see the help for that window for some informatin about what it does - main effect is you get more notes played in the second and third parts, and a somewhat more complex texture to the fractal tune. One could also try the polyrhythm tunes too - many other things too, but I'll leave those for later FAQ entries on this page. Now, let's go on to the tuning of the notes - the really fun part in my (slightly biased probably) opinion.
For this exercise, choose any of the fractal tunes, or one you built up from new in the previous exercises, and try changing the scale from the scales drop list.
As a general guide, ones with fewer notes in them are easier to use, and five or seven or there abouts is enough to have an interesting variety of intervals for the melody, and few enough notes so that nearly everything you play will be nice. Try twelve tone scales with the pentatonic or diatonic modes (in the Arpeggios drop list) - and the minor scales. Then have a look at the other modes for the twelve tone scale (by a mode here I mean a selection of notes from the scale), e.g. the 5 note modes, which you get to from the Arpeggios drop list for the twelve tone scales..
If you find the tune goes rather high or low, you can set a range for each part using Note Ranges window. To set the range for several parts at once, highlight all the ones you want to change. The scroll bars shift the bounds of the range by semitones, tones, or the scroll bar below the note number shifts it up / down by octaves.
If you would like an introduction to the various twelve tone systems in the Scales drop list at this point, have a look through [#histtuning How do I play the historical tunings of the diatonic and twelve tone systems?] which will get you started. Also have a look through the [Scales_and_Fractal_Tunes.htm Musical note intervals] page for some of the background and theory for them. But, you don't need to know all that to have fun with them - it is just for those who find such things of interest, and kind of useful eventually to know in the long run I expect.
You'll see there are many other scales apart from teh twelve tone ones. Try the Pygmie and Koto scales, which are very tuneful, also the Slendro and Pelog which are really interesting and unusual (to the Western ear - these are scales typical of those used in Indonesia). Try the Thailand scale too, which is close to seven equal temperament (seven equally spaced notes to an octave). Generally, try the ones with fewer notes first.
Also be sure to have a go with the harmonic series. This is the series of notes you get in the partials (component frequencies of the note) of many "harmonic" timbres such as voice or string, woodwinds - most of the instruments of the orchestra in fact. The result is that the notes of the harmonic series go well together. See [harmonic_series_notes_sound_well_together.htm Why two notes of the harmonic series sound well together ]
For a really unorthodox one try the Bohlen-Pierce one - that one should have 3/1 (octave plus a fifth) instead of 2/1 (octave) as the "octave". So in the Parts window, change the drop list to read Modulate by (interval) and to transpose instruments up / down, use 3 or 1/3 or 9 or 1/9 if you want them to go up and down by two "octaves".
For some more small scales to try go to Scales | More Scales drop lists - then the Woodstock windchimes scale there is really nice, and also the selection of pentatonic scales labelled " Canright's exs from Superparticular Pentatonics ", and " Canright's Some pentatonics I have known ".
If you want to be a bit more unorthodox, take some normal type of pentatonic scale like the woodstock windchimes 5/4 4/3 3/2 5/3 2/1 , then change one of the intervals to an exotic one like 11/8, 11/9, 13/8, or some other one using the eleventh or thirteenth or higher prime harmonics. Maybe in this case leave the 3/2 as a kind of grounding thing, so how about 5/4 11/9 3/2 13/8 2/1 or something. Just to get an idea of what those types of intervals sound like in a scale - and if you like it, as usual, save the result for future reference. Sometimes adding just one exotic interval to an otherwise fairly conventional one can be quite striking, as in the [1.082a/bitter_sweet.ts bitter sweet ]fractal tune. That one consists of a normal major chord, with an 11/8 added to it to make the scale 5/4 11/8 3/2 2 . Sounds rather more exotic than you'd expect from adding just one note to a major chord :-).
Another fun thing you can do is to make a scale that is non ascending, or an arpeggio that is non ascending. For instance the piece [1.082a/major_chords_round_the_cycle_of_fifths_-_Bach_temperament.ts major chords round the cycle of fifths - Bach temperament] uses a conventional well tempered twelve tone scale from Bach's time - and then an arpeggio 0 4 7 12 7 which goes up a major chord, and then down to the fifth. As you go up this arpeggio, rather than ending at the octave at each repeat of it, you end a fifth higher instead. So the further you go up it, the further you go round the circle of fifths - hence the title. So the tune gradually wanders up the circle of fifths - but because of the fractal nature of the tune, keeps returning to the home key, at longer and longer intervals of time.
Now that you have an eye for what to look out for, take a look at the scales and arpeggios used for some of the other fractal tunes and they may give you a few ideas.
Then, try out the SCALA scales - you need to install the SCALA archive first - see [FTS_and_SCALA.htm Setting FTS up for SCALA and vice versa] . You can order the SCALA scales drop list so that the smaller scales go first in the list, and in fact that's the standard setting for FTS. That's because then the earlier ones in the list will generally be easier to use in the fractal tunes.
FTS also has a number of options to help you make your own scales. Take a look at [#New_scales Make new Scale] , and the [More_scales.htm Scales] help page to find out more about this. Of course, SCALA is an entire program completely devoted to the construction and exploration of new scales.