A little duet for my Xenharmonic instruments: My Axis-49 and an Irish Whistle I built and tuned to Superpyth temperament in 22edo. Superpyth temperament is like meantone but in the other direction - the fifths are wider such that tones 9:8 and 8:7 are equated, (instead of meantone's equating of 9:8 and 10:9), and two of these 'eventones' make a septimal supermajor third of 9:7, (rather than meantone's major third of 5:4). The diatonic semitones, at 55cents are much smaller than normal. 22 equal divisions of the octave supports this temperament very well. In the A section I use the 7 note superpyth diatonic and 12 note superpyth chromatic scales, retunings of the scales we know and love, and in the B section I use 22edo as an ultra-chromatic scale. The form is ABAB. The recording is a bit rough, the piece is to demonstrate the tuning, the temperament and the instruments. I hope it confuses you a little but not too much :)

Duet for Axis-49 and Superpyth Irish Whistle in 22edo.

6nov2022

Superpyth temperament can be thought of as a mirror opposite of meantone temperament. In meantone temperament four fifths reduced an octave is equated to the 5-limit just major third 5/4, where 4 pure fifths of 3/2 reduced an octave give 81/64, larger than 5/4 by the meantone comma, 81/80. In quarter comma meantone each fifth is flattened by a quarter of this comma so that four of them reduced an octave give an exact 5/4 and the meantone comma is tempered out. In superpyth four fiths reduced an octave is instead taken to be equivalent to the septimal, supermajor third 9/7. Two fourth then give the harmonic seventh 7/4. In quarter-comma superpyth  each fifth is sharpened by a quarter of the archytas comma 64/63, the difference between two fourth of 4/3 and a harmonic seventh of 7/4 then tempered out and fourth fifths reduced an octave giving a pure 9/7. Quarter-comma meantone can be well approximated in 31edo (equal divisions of the octave), and quarter-comma superpyth in 22edo. Diatonic notes in Meantone are 5-limit (subgroup 2.3.5), where chromatic intervals may be septimal (7-limit), i.e. the augemented sixth is 7/4 and the diminished fourth is 9/7. Diatonic notes in superpyth are of the 2.3.7 subgroup, with major and minor thirds at 9/7 and 7/6 respectively. Chromatic intervals may be 5-limit, ie an augmented second of 5/4 and a diminished fourth of 6/5. Using a gamut of Ab-C# (traversed by fifths - the generator), the black notes host the octave species of the 5-limit enharmonic trichord, the 5-note scale: 1/1:5/4:4/3:3/2:15/8, our regular 5-limit M3, P4, P5 and M7. This study is a 5 chord riff that makes use of the 5-limit chromatic intervals of Superpyth[12] (12 notes of superpyth temperament generated by a continuous string of fifths), along with the diatonic intervals. The chords include the diatonic subminor seventh, subminor major seventh and included supermajor seventh, along with the chromatic major and minor seventh chords.

Superpyth[12] chromatic riff

12tone22EDODrama

Twin Moons - Superpyth

Resolution demonstrating that the analog to the dominant chord is 6:7:9:11

Superpyth Primary Resolution I Ii V I

Two Piano Pieces written in the Superpyth[12] scale of 22 Equal Temperament. This is pantonal so that means it's not in a particular 7 note key but one giant 12 tone tonality.  

Superpyth Pantonal Music - 22 EDO

A sketch in Superpyth[12], 6 steps down, on D. Tuned in 27edo.

Casey Hale's Album

More than three over two

New track based on my previous track "Endless Flow" in 22 EDO.

Interrupted Flow - 22 EDO

just practicing a little bit of american style electronic gender.  the gender is a gamelan instrument with thin metal keys, usually bronze, and resonators for each key. it is an elaborating instrument in javanese style gamelan.  22EDO, superpyth.

gender practice

Clarinet, sax, and keyboard player; singer, composer, and theorist.

I am a composer/improvisor specializing in experimental and improvised music.  I play the shakuhachi, suling, computer, analog synthesizers, and keyboards. I  have played extensively in gamelan groups on the west coast of the US.  I am deeply ensconced in free improvisation and electronic music since the early 70s. I have a deep interest in microtonality and polymicrotonality, and use many different tuning systems in my current music.  I occasionally find my way to building instruments, both acoustic and electronic, and  programming computer music applications using Max/MSP/Jitter. I'm interested in collaborative projects with other musicians and artists. Completed albums are at http://joeltaylor.bandcamp.com

My second profile, just so I can add a few longer improvisations. Microtonal musician, hexagonal keyboardist, tuning theorist, barbershopper.

My other profile is here: 
https://soundcloud.com/camtaylor-1

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