From Xenharmonic Wiki
Jump to: navigation, search

About me

I am Burkhard von Stackelberg, an ambitious musical hobbyist living in Stuttgart. Not the one in Kansas nor the one in Arkansas, but the much bigger one in Germany. While I mainly compose in 12edo (or, let's say, my music is mostly interpretable and understandable in 12edo), some of it is microtonal. Like most of us, I am grown up in a 12edo context culture, and most instruments I deal with strengthen a 12edo position, but in electronic music I like to use a bunch of possibilities, of which 12edo is but one.

Music you can listen to (non-12edo only listed)

At you find me as Muckotron with my electronic music.

Jolly Ride is a piece written in the equal-tempered Bohlen-Piercescale (13ed3). Using an eclectic musical language from baroque, jazz/ragtime, and impressionism, I tried to shed light on the possibilities of BP. Using mostly the lambda scale as a base, modulating between different tonalities, I also use False Father with its pseudo-octave at one point. BP is mostly known as a scale with low tension, I found that there is more in it. Enjoy a jolly ride on an exoplanetary camel!

Blues around Trappist-1 (ICT 7:9:10:11 open)

Would blues on an other world sound like that?

Tuning recipe: Start with a 9:10:11 chord. Repeat it all over in 7:9 periods. While giving you savvy 7:9:10:11 harmonies, it lacks a clear octave period, forcing you to seemingly polytonal settings.

Bell Dance (ICT 10:12:13:14 / 3:1)

Insectoids (ICT 7:9:10:11 / 3:1)

Orbiting an Exotic World in 5edo

Keepin' cool in the rush in a 10-note-MOS subset of 24edo

Sweetness in a 9-note-MOS subset of 24-edo

How to Dance on a Comet in 4ed3

How many notes does one need to make music? Here, I used no more than 4 in a 1:3 range, at intervals barely less than a Fourth in traditional western notation. Or about half a 5-equal division of the octave.

Scales and tuning recipes

Intersecting Chord Tetrachord scales (for no better name)

Experimenting in the neighbourhood of diatonic JI, I found some scales with astonishing similarities in the way they can be build, leading to a whole scale family with low harmonic entropy.

Diatonic JI scale (ICT 6:8:9:10 / 2:1)

  • Start with a 8:9:10 chord.
  • Iterate this pattern every 6:8, i.e. 3:4.
  • Stop iteration at the octave (2:1).

The scale contains a 6:8:9:10 chord, whose inversion is a (filled) major chord: 8:9:10:12. This pattern occurs twice. The third major chord contains a Pythagorean major third (diapasson).

The resulting scale:

! byzantine.scl
Byzantine Diatonic
! repeats every 4:3 until iteration stops at the octave.

The scale steps are: 9/8, 10/9, 16/15, 9/8, 10/9, 16/15, 9/8.

Slendro JI scale (ICT 4:6:7:8 / 2:1)

  • Start with a 6:7:8 chord.
  • Iterate this pattern every 6:4, i.e. 3:2.
  • Stop iteration at the octave (2:1)

The pattern contains a 4:6:7:8 chord, which can be interpreted as a 2:3:4 open-fifth chord, which is septimally filled. This pattern occurs once

The resulting scale:

! ji-slendro.scl
JI Slendro

The scale steps are: 7/6, 8/7, 9/8, 7/6, 8/7

Sweet Nine (ICT 8:10:11:12 / 2:1)

  • Start with a 10:11:12 chord.
  • Iterate this pattern every 10:8, i.e. 5:4.
  • Stop iteration at the octave.

The base chord ist 8:10:11:12.

The basic scale steps are 11/10, 12/11 and 25/24. The iteration stops at a 16/15 interval.

The resulting scale:

! sweetnine.scl
Sweet Nine. Based on an 8:10:11:12 chord.

General pattern

  • Choose a chord of 3 following integers, for example 3:4:5
  • Double the numbers, filling the upper gap. Example: 6:8:9:10. This is your base chord.
  • Start your scale with the upper triad as your chord.
  • Iterate this chord, using the lower dyad as generator.
  • Stop iteration at a chosen period interval. Example: 2:1