Dance of the Badger played with Marimba sound patch written in Badgerian mode of porcupine[7] in 22 EDO:  sLsssss 

Dance of the Badger

Etude no. 1 in Superpyth[12] - 22 EDO

My love’s warmest smile 
Is ruby-sunshine
My love’s juvenile 
Innocence divine

She whispers me words
So secret and kind 
What I’ve never heard
I’m lucky to find… her…

(Counterpoint section)

She makes time for me
Opposites of habit
And that’s the reason
Relationships quit

My love’s enticing
Is golden-rosy
My love’s inviting  
Virtuous lovely 

She gives the best gift
Her time and her thought
When I need a lift
She does what she ought

She goes out of her way
Opposites of habit
To serve and to guide
To listen and try

(Counterpoint)

Each time with her is time
I want to live again
Each time our season
That fades from where and when

Her touch is infectious
So full of affection
Such potent confection 
It counts as refection  

She makes time for me
So many wonderful, beautiful, diverse opposites of habit!
Inspired by her efforts
I must make us better

(Counterpoint)

My love’s inspiring
My love’s inviting  
She’s strong and she chooses
My love is my muses

She makes time for me
Opposites of habit
Inspired by her efforts
I must make us better

It’s the good she deserves
It’s the good she’s earned
All the adoration 
I have to offer
And all of the time 
That I can proffer
And ev’ry last song
Deep in my stirred heart
Is hers all along 
And thus my shared art
Is the resistance,
To old ways and cold ways,
My gift to her existence,
And I am in love always!!!

Opposites of Habit (13-EDO)

Easier to hear what's going on in this one I think. A Functional Auto-harmonisation of Pajara[10] 2|2 (2) (the 10-note Pajara major scale, or symmetric decatonic ssLssssLss) in 22edo (2232222322) using major tetrads of 4:5:6:7, 1-4-7-9 in the scale or 0-7-13-18 in 22edo.
The chord sequence in 10-note Roman numerals is
I-VI-VII-I-II-VI-I-II-VI-VII-I.
The sequence may be divided in half, where the second half is a repetition of the first half, transposed up the half-octave period of the scale.
The top part plays the scale ascending. The four functions in Pajara functional harmony are the tonic (T), chord I; the dominant (D), chord VII; the tonic transposed a (half-octave) period (T1/2), chord VI; and the dominant transposed a (half-octave) period (D1/2), chord II. Each major tetrad has a leading-tone minor, root lies a 5/4 (major fourth in 10-note scales) above the major, and only the dominant and dominant half-octave have relative minors, whose root lies a 6/5 (minor fourth) below the major. In just intonation the minor tetrad can be expressed as 1/1-6/5-3/2-12/7, or in 22edo also as 10:12:15:17 (where 10:12:15 is the minor triad in just intonation). The fourth note of the minor tetrad lies 1 step of 22edo below the fourth note of the major tetrad, a minor third rather than major third above the seventh (3/2). The minor tetrad has two notes in common with its leading-tone major, or relative major (though this will not always be in the scale).

Etude no. 1 in Superpyth[12] - 22 EDO

pianodog

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