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Digital music creation with 34 tones

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Digital music
creation
with 34 tones
parts 1–3

A study based on the dynamic

nonlinearity of sound

Edited by
Julio E. Marco-Franco
Foreword by
Diego L. González
Digital music creation with 34 Tones
Julio Emilio Marco Franco (Ed.)
julio.marco-at-uib.es
ORCID: 0000-0003-1350-2539
Department of Communication and Art (Doctoral Program in Music Composition,
University of Aveiro, Portugal) and Department of Mathematics and Computing,
University of the Balearic Islands (Doctoral Program in ICT), in collaboration with
the Institute for Microelectronics and Microsystems, National Research Council
of Italy, Bologna Unit and Bologna University.

Foreword: Diego L. González-Tisserand

Senior researcher, Institute for Microelectronics and Microsystems, National
Research Council of Italy, Bologna Unit and Bologna University.

ISBN:

E-book

© 2020. All rights reserved. This work may not be translated or copied in whole
or in part without the written permission of the editor.
Disclaimer Notices:
The use of designations, trademarks, etc. in this publication does not imply, even
in the absence of a specific statement, that such names are exempt from the
relevant protective laws and regulations and therefore free for general use.
Every attempt has been made to contact the copyright holders for material
originally printed in another source. If any has been inadvertently overlooked, the
author will gladly make the necessary arrangements at the first opportunity.
The scholar use of the author’s original work is released under the license
Attribution-NonCommercial-NoDerivatives 4.0 International

Publisher: Creative Best Service Mallorca SLU. Palma de Mallorca, Spain.

cbsm-at-cbm.es
Editor illustration and cover design using CC0 images from Pixabay®
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 i

Acknowledgements
First of all, I would like to express my sincere thanks to Prof. Dr. Isabel Maria
Machado Abranches de Soveral, of the Department of Communication and Art, of the
University of Aveiro in Portugal, to Prof. Dr. Ramón Más Sansó and Prof. Dr Oreste
Piro Perusín, both from the University of the Balearic Islands, and to Dr. Luis
González-Tisserand, senior investigator at the Institute of Microelectronics and
Microsystems (IMM) of the National Research Council (CNR), Bologna Unit in Italy,
fortheir continuous support and collaboration in my doctoral researches.
The altruistic collaboration of Ramón Arnau-Gómez, CEO of Arteco Consulting
(Majorca, Spain), in the development of the plugin has been priceless.
I also want to especially thank the help given by the guitarist and friendly colleague
Neil Haverstick, who provided me with some material from his forthcoming book,
together with a great deal of information, and Dr. Julyan Cartwright (Spanish
Research Council, CSIC) for his insightful comments and the encouragement to
expand my research from the non-linear perspective.
I am particularly grateful for the assistance given by Prof. Dr. Ozan Yarman from
Istanbul University, for his insightful comments, and provision of material related to
maqãm; and by my medical colleague, and Hindi musician expert, Dr. Vidyadhar Oke
for his thoughts and criticism related to the shrutis, one of his areas of expertise.
Two musicians also deserve individual recognition: The Majorca-based Cuban Pianist
Ivon Frontela Rico, outstanding critic of my work, and John Dodd — sadly deceased
very recently— for his friendly peer text review, comments, and suggestions.
Besides them, and last but not least, many thanks to the those many other scholars
which made contributions, either providing references, suggestions, comments, or
images, to this dissertation. My gratitude is now for all of them and it will be
particularly expressed in the corresponding chapters where they have contributed.
Also, my gratitude to the many authors which have lent their artistic images in a
copyright-free CC0 format.
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 ii

Preface
The lighthouse that has guided the scholar transit through this research is the
nonlinear dynamic systems theory.
Although the work is focused mainly on composition of academic, cultivated, or art
music (the one studied mainly in the conservatories), and within the frame of European
and Europeanized culture (EuCul), the theoretical-practical developments presented
here are aimed to be applicable outside these bounds.
Music theorists have long sought to unite just intonation and equal temperament,
seeking to avoid the inconveniences derived from the non-tempered harmonic
schemes, since with those non-tempered schemes, it is not possible to properly
modulate within the same musical piece, and they require different tunings for different
tonalities.
One answer to that search is the 34-tone equal-tempered scale. Moreover, in addition
to joining these two characteristics, just intonation and equal temperament, it includes
a third element, nonlinearity, through the golden ratio.
The author recognizes humbly his lack of knowledge on how the nonlinear dynamic
systems are rooted in various disciplines ranging from astronomy to physics, but in
the same way as one person may use a smartphone or watch digital television, without
knowing the intricacies involved in their functioning, this book develops the
nonlinearity through the golden ratio in EuCul music composition, while it opens a
window to explore it in other cultural settings. Music perception –proved to be highly
nonlinear– has no cultural borders.
Julyan Cartwright, Diego L. González, Oreste Piro and Domenico Stanzial initiated
the process of revisiting musical theory on the basis dynamic nonlinearity and
perceived pitch. Hopefully they will provide a continuity to this book with an in-depth
study of the physical concepts involve in those intricacies of dynamic nonlinearity, an
area of amazing development, expanding over different disciplines, beyond the arena
of this author’s expertise.
The development of the plugin, which easily allows compositions with 34-tones, opens
the field of the information and communication technologies to future research in
digital sound processing, improvement or alternative adaptations of the 34-tone scale.
Julio E. Marco-Franco
Palma, Majorca, January 2020.
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 iii

Foreword
When Julio E. Marco-Franco let me know that he intended to publish this book and
asked me to write a foreword, I was very happy; first because his work represents an
important step in the application of new scientific ideas to the world of music, and
second because of its remarkable extent representing a reference point with respect to
the use of the golden section and Fibonacci numbers in a musical context.
It is known that the golden ratio is related to different natural phenomena and seems
to be involved in different aspects of the aesthetics of art and architecture. Several
reports debate the real role played by the golden section in these disciplines but
without a definitive answer. However, today and thanks to the most recent
developments in dynamic systems theory, this situation is changing. We know that the
golden ratio plays an important role in the dynamics of complex nonlinear systems.
This finding offers a scientific basis for understanding the role of the golden number
in many seemingly unrelated phenomena, including its role in the aesthetics of works
of art.
Focusing on music, several contributions have analysed the role of the golden ratio in
it, but most of the articles are centred only on the temporal aspect, or in other words,
are limited to metrics. The number of publications reviewing the role of the golden
number in other aspects, such as musical consonance and harmony, is considerably
scarce, and most proposals lack a scientific basis. The impressive review on this topic
included in this research represents one of the most rigorous and complete works on
the golden ratio in music.
At the end of 1980s and, based on the role of the golden ratio in nonlinear dynamic
systems, I proposed a method to generate musical scales with a good simultaneous
approximation to the consonant intervals of Western music, that is: octave, perfect
fifth, perfect fourth, and the third and sixth major and minor. The scales resulting from
this approach turned out to have 5, 12, 19, 31 and 34 notes. It should be noted that
such number of notes have been suggested, in a historical account, by different famous
musical theorists and composers, among which, as a paradigmatic example, it is worth
mentioning Zarlino, Nicola Vicentino, Huyghens or Newton.
This first proposal of golden scales based on dynamical systems has taken another
step: the search for a perceptual model of complex sounds within the paradigm of
nonlinear dynamical systems. Unexpectedly, in the late 1990s and together with my
colleagues Julyan Cartwright and Oreste Piro, we found an explanation for a
fundamental phenomenon in musical perception: the residue, also known as the absent
fundamental pitch. It refers to the paradox that, if the fundamental partial of a periodic
sound is removed, the pitch still remains fixed at the value of the suppressed
fundamental partial. Helmholtz gave a first physical explanation for this amazing
perceptual characteristic using combination tones generated in the nonlinearities of
the auditory system. However, in the 1940s, Schouten's elegant experiments showed
that the perception of the absent fundamental cannot be explained on this basis. These
results produced a shift towards the so-called central theories, that is, theories that
attribute the perception of the fundamental absent to a "software" elaboration of the
 iv

incoming sound by the central nervous system. However, our main contribution was
to show that it is not necessary to resort to neuronal computing, and in fact, it is
possible to find an explanation based on auditory nonlinearities but “dynamic” rather
than "static" as in Hemholtz's approach.
The explanation of the historical rejection of nonlinearities as a source of the auditory
perceptual phenomena lies in the fact that only with the development of computers it
has been possible to understand the complexity that nonlinear dynamic systems can
exhibit. Incidentally, this gave rise to a new branch of physics that includes the theory
of dynamic systems, deterministic chaos and its use in modelling complex systems with
simple mathematical models (of low dimension). In our case, we have developed a
model for the perception of complex sounds based on dynamic attractors. Without
going into technical details, these attractors are classified as "three frequency
resonances" and are an extended dimensional version of the universally known
phenomenon of synchronization (resonances of two frequencies).
The analysis of the fundamental pitch perception in absence of the fundamental partial
could provide a useful basis for understanding music harmony, as previously noted by
leading music theorists such as Jean Philippe Rameau, Giuseppe Tartini or
Giambattista Martini; with respect to Tartini, it is possible that the “third sound” he
found may be the residue or fundamental absent rather than a combination tone. Such
historical theories, now revisited with our dynamic approach, point out the possibility
of explaining consonant intervals based on dynamic attractors.
These historical references adequately frame the important research carried out by
Julio presented in this text. The author used our approach and our suggestion that a
34-TET scale can approximate the golden scale of 34 notes with adequate accuracy
(very close to the differential pitch-perception limen). In this sense, the work of Julio
is particularly important; first due to his extensive review of previous work based on
the golden number; second, for his numerical evaluation and comparison of different
musical scales with the 34-tone golden scale and with the 34-TET scale; and finally,
his practical contribution to musical composition, using the 34-TET scale as a
paradigm, opens the way to microtonal musical composition with a dynamic systems
approach. Moreover, the importance of the 34-TET scheme lies in the fact that it
allows the development of a new musical theory to compose microtonal music. There
have been many attempts to produce microtonal music, but not theoretical paradigms
for composing as with the 12-TET scale. The research resulted in an approach to
create microtonal music that incorporates the fine melodic structure typical of eastern
microtonal scales along with the harmonizing power of Western music.
The research by Julio E. Marco-Franco represents an important step in this direction;
the use of the 34-TET scale offers the possibility of composing and transposing to
different microtonal tonalities taking advantage of the powerful theoretical
interpretation of our complex non-linear auditory system in terms of the dynamic
systems theory.
Diego L. González
Bologna, January 2020
MUSIC CREATION WITH THE 34-TET SCALE v

PART I Table of Contents Page

Introduction 1
Chapter Two. Definitions and Constraints 7
Art Music Concept and Periods 7
Acronyms for Globe Musical Cultures 8
European Notation System 8
The Just Noticeable Difference 9
Golden-Ratio-Based Scales 10
Musical Controversial Terms. Work Scopes 11
Conmpositional Material: Samples 12
Portfolios Styles/Genres 12
Chapter Three. Purpose, Goal, Objectives 13
Purpose, Goal, Topics Exclusion 13
First Goal: 34-TET Scale Theoretical Development 14
Second Goal: Evidence-Based Methodology 14
Third Goal: Comparative Approach to Historial Temperaments by Using the
15
34 or the 12-TET Scales
Fourth Goal: Evaluation of 12-TET Scale Replacement by 34-TET in
15
Contemporary Music & European Popular Music
Fifth Goal: Evaluation of 34-TET scale in Non-European Musical Settings 16
Sixth Goal: Evaluation of the Combined Use of 12-TET and 34-TET Scales 16
Chapter Four. State of the Art 17
An Outline on Mathematics, Music Physics, Perception and Harmony 17
Mathematics, physics and music. 17
Chronological synopsis of mathematics and music. 18
Analysis of consonance. 26
Pitch-class set methodology. 27
Music perception. 28
Harmony, consonance, & pleasantness. 29
The Golden Ratio (GR) 36
History and calculation of the GR. 36
Ubiquity of the GR over time and places. 39
The GR and music. 41
The GR in music with non-golden scales. 42
GR-based musical scales. 45
GR and computerised music. 48
Musical Scales 49
Early schemes. 50
Ancient Greece. 50
Pythagorean tuning. 53
Hexachords. Guido d’Arezzo: Guidonian hand. Birth of solfeggio. 56
MUSIC CREATION WITH THE 34-TET SCALE vi

PART I Table of Contents (cont.) Page

Chord development. 59
Temperament and the tonal system. 60
Just intonation: Zarlino. 61
Meantone scales: wolf intervals. 65
Well temperaments. 69
Equally tempered scales. 74
Contemporary trends. 80
Temperaments in other cultures, and less frequently used scales 81
Pentatonic scales. 81
Musical scales of Middle East cultures (MECul) 82
Musical scales of Indian subcontinent (SACul). 88
Musical scales of East Asia cultures (EACul). 97
Microtonal scales. 105
Tuning 107
Music and Mood 111
Chapter Five. Material & Methods 115
Chapter Six. Results 125
Historical Antecedents of Thirty-Four Tone Scales 125
Non-tempered scales. 125
Equally-tempered scale. 127
Recordings. 130
Thirty-four Tone Equal-Tempered Scale: From Theory to Practice 132
Tuning, frequencies, intervals. Physical and musical nomenclatures. 132
Tones and chords development. 134
Score writing. 134
Golden properties of the 34-tone equal tempered scale. 138
Consonance in 34-tone scales. 139
Scale sizes & comparisons. 141
Recording and reproduction methodologies. 142
Recording and playing directly from a tuned instrument. 142
Reproduction using a digital audio workstation (DAW). 143
Reproduction from a score writing software. 144
Plugin Development 145
Creative Applications. Samples 148
Chapter Seven. Discussion. Problems and Future Developments 151
Chapter Eight. Conclusions 169
References 171
MUSIC CREATION WITH THE 34-TET SCALE vii

PART II (Tables, Figures, and appendixes) Page

Tables

1 Comparison of golden ratio scales 207

2 The initial four authentic harmoniai or tonoi in Ancient Greece. 208
3 The initial three plagal harmoniai or tonoi in Ancient Greece. 209
4 The modes in Glarean’s Dodecachordon. 210
5 The eight Greek versus the modern diatonic modes. 211
Calculation of mathematical Pythagorean ratios based on fifth progression
6 212
showing the adjustment of values for transposition to the same octave.
7 Pythagorean tuning for C4 (including major and minor semitones). 213
8 Pythagorean tuning for C4 using G# instead of A♭. 214
Ramos de Pareja, the one anonymous (Erlangen), and Pythagorean
9 215
monochords compared (C4).
10 Consonant intervals according to Zarlino’s musical theory. 216
Frequencies of the first 14 harmonic series, and corresponding notes,
11 217
compared with Zarlino’s scheme. f1 = C4
12 12-tone Urquhart’s just intonation scale (I) (C4). 218
13 16-tone semi-extended standardised just intonation scale (II) (C4). 219
14 21-tone just enharmonic scale (III) (C4). 220
15 22-tone just intonation scale (IV) (C4). 221
16 25-tone extended just intonation scale (V) (C4). 222
17 One-quarter-comma meantone scale (C4). 223
18 One-quarter-comma meantone and JI scales comparison (C4). 224
19 Thomas Young II one-sixth Pythagorean-comma tuning (F3 & C4). 225
20 Kirnberger III scale (C4). 226
21 Vallotti-Tartini scale (C4). 227
22 The rasas (emotions) in Indian music. 228
23 The Hindi C scale (Saphet 1) as compared to 34-TET. 229
24 Indian tunings. 230
25 Closer 12-TET (C4 octave) notes to Chinese qin tuning. 231
26 Chinese whole note scales representing Yin and Yang. 232
27 Chinese chromatic scale based on C. 233
28 The supposed moods related to tonality. 234
29 Cartwright et al. 34-tone scale (34T-GR) (octaves = 4 and 8). 235
Adjusted cents coefficient correction factors for intervals based on
30 236
dissonance metrics.
31 Indian Bhatkhande tuning and 34-TET equivalences. 237
32 Comparison of 34-TET tunings (A = 440 vs. C = 261.6) with 12-TET. 238
34-TET scale details (C4 = 261.63 tuning), showing the three notation
33 239
options.
Corresponding 34-TET rank (order) ascending and descending intervals for
34 240
frequently used musical (diatonic) scales
35 34-TET chromatic scale of F (C4 = 261.63 Hz). 241
36 Cents adjustment from the reference note to get the 34-tone pitch. 242
Comparison of intervals may be misleading using note names.
37 243
There may be closer frequency options.
Analysis of frequency differences showing that the 34-TET scale remains
38 244
close to golden ratio values of 34T-GR. Physical notation (C4)
MUSIC CREATION WITH THE 34-TET SCALE viii

PART II Tables (cont.) Page

39 Consonance for 34T-GR scale (C4). 245

40 Consonance for 34-TET scale (C4). 246
41 Comparison of extended 22-tone IJ and 34-TET. 247
Adjusted coefficients of disharmony, and RMSD of 12, 19, 22, 24, 31, 34,
42 248
38, 41 & 46 TET scales compared to JI/34-GR (C4 tuning).
Adjusted coefficients of disharmony, and RMSD of JI, 34T-GR and 34-
43 249
TET compared to 12-TET intervals (C4 tuning).
Adjusted coefficients of disharmony, and RMSD of 12-TET, 34T-GR and
44 250
34-TET compared to JI intervals (C4 tuning).
45 Comparison of 12-TET and 34-TET scales (tune to C4). 251
Comparison of 12-TET and 34-TET approximation to Arnault Zwolle
46 252
temperament in Renaissance Sample Gloria Resurrectonis, A = 422 Hz.
Comparison of 12-TET and 34-TET approximation to Arnault Zwolle
47 253
temperament in Renaissance Sample Gloria Resurrectonis, C = 256 Hz.
Comparison of 12-TET and 34-TET approximation to Arnault Zwolle
48 254
temperament in Renaissance Sample Gloria Resurrectonis, A = 440 Hz.
Comparison of 12-TET and 34-TET approximation to Arnault Zwolle
49 255
temperament in William Byrd’s Kyrie (Mass for four voices), C = 512 Hz.
Comparison of 12-TET and 34-TET approximation to Arnault Zwolle
50 temperament in the four voices madrigal No 22, of Orlando di Lasso, 256
Canzon se l’Esser Meco. Last five bars, A = 422 Hz.
Comparison of 12-TET and 34-TET approximation to one-quarter coma
51 257
meantone temperament in Baroque sample Sarabande, A = 422 Hz.
Comparison of 12-TET and 34-TET approximation to one-quarter coma
52 258
meantone temperament in Baroque sample Sarabande, C = 256 Hz.
Comparison of 12-TET and 34-TET approximation to one-quarter coma
53 259
meantone temperament in Baroque sample Sarabande, A = 440 Hz.
Comparison of 12-TET and 34-TET approximation to one-quarter coma
54 meantone temperament in Händel’s Sarabande of the Suite No 4, in D 260
minor (HWV 437), A = 422 Hz.
Comparison of 12-TET and 34-TET approximation to Werckmeinster III
55 261
temperament in a Baroque Fantasy piece, A = 422 Hz.
Comparison of 12-TET and 34-TET approximation to Werckmeinster III
56 262
temperament in a Baroque Fantasy piece, C = 256/512 Hz.
Comparison of 12-TET and 34-TET approximation to Werckmeister III
57 temperament in Bach’s Well-tempered Clavier (last four bars from 263
Prelude I), A = 422 Hz.
Comparison of 12-TET and 34-TET approximation to Vallotti-Tartini
58 264
temperament in a classical minuet da capo piece, A = 422 Hz.
Comparison of 12-TET and 34-TET approximation to Vallotti-Tartini
59 265
temperament in a classical minuet da capo piece, C = 256/512 Hz.
Comparison of 12-TET and 34-TET approximation to Vallotti-Tartini
60 266
temperament in Haydn Sonata No. 48 Hob. XVI:35 in C major, A = 422.
MUSIC CREATION WITH THE 34-TET SCALE ix

PART II Tables (cont.) Page

Comparison of 34-TET approximation to 12-TET tuning in romantic
61 267
Podolian Rhapsody, (A =432 Hz).
62 The three possibilities for 12-TET hexaphonic series. 268
Corresponding notes of the 12-tone whole-tone scale following Fibonacci
63 269
series.
The 17 possible modes of whole-tone of hexaphonic series using the 34-
64 270
TET scale.
Notes following the Fibonacci sequence in the three possibilities that have
65 271
been used out of the 17 hexaphonic series offered by the 34-TET scale.
Differences in cents between 24-tone and 34-TET scales used in Horse
66 272
Gateway composition, (Rãst on G4, ascending).
Differences in cents between 24-tone and 34-TET scales used in Horse
67 273
Gateway composition, (Rãst on G4, descending).
Differences in cents between 24-tone and 34-TET scales used in Horse
68 274
Gateway composition, (Hijaz from Nevã, ascending), upper jins Rãst.
Differences in cents between 24-tone and 34-TET for Hijaz from Nevã,
69 275
[D4] ascending (in Horse Gateway), variant with upper jins Nahawad.
Differences in cents between 24-tone and 34-TET scales used in Horse
70 276
Gateway composition (Hijaz on D5, descending)
34-TET Notes used in rāga Pilu sample, and cents difference with
71 277
Bhatkhande tuning.
72 Budget estimation for The Asian Garden performance. 278
Comparison of 34-TET and 12-TET scales to old Chinese F# based tuning
73 279
used in Opening Ballet (The Asian garden).
A minor 34-TET scale used in The Asian Garden scene nine: The
74 280
Abandonment Sadness. Pitches are close to Japanese goin scale.
MUSIC CREATION WITH THE 34-TET SCALE x

PART II Figures Page

1 Kepler triangle. 281

2 The GR linear representation. 282
3 GR rectangle proportions. 283
4 GR grid. 284
5 GR spiral development. 285
6 Hurricane vortex showing the spiral development. 286
7 Galaxy showing the spiral development. 287
8 Quasicrystal with a GR structure. 288
9 Vegetal progressive development as a Fibonacci growth I. 289
10 Vegetal progressive development as a Fibonacci growth II. 290
11 DNA double-helix. 291
12 Snail shell explained as a Fibonacci sequence. 292
13 A shell representation in 3D based on Fibonacci sequence. 293
14 A bee showing GR proportions. 294
15 Leonardo da Vinci’s Vitruvian man. 295
16 Five-point star related to secret codes used by Pythagorean school 296
17 Stonehenge I. 297
18 Stonehenge II. Trilithons disposition adopting a five-point star. 298
19 The Kepler triangle in Egypt pyramids. 299
20 The GR triangle in Mesoamerican pyramid. 300
21 Parthenon front view. 301
22 Floor plan of the Parthenon. 302
23 Great Mosque of Kairouan. 303
24 Notre Dame in Paris. 304
25 GR spiral-based Vatican scale. 305
26 Taj Mahal. 306
27 The Eiffel tower. 307
28 Canada’s National Tower. 308
29 Louvre pyramid. 309
30 The United Nations General Secretariat Building. 310
31 USA pentagon. 311
32 Neanderthal ladder-like painting ca. 64,000 y/o., La Pasiega. 312
Petroglyph showing a bigger and lesser proportion in Goarham
33 313
Gibraltar cave at least 39,000 y/o. (Nuwer, 2014).
34 Bison in the great hall of polychromes. Altamira cave. 314
35 da Vinci’s La Gioconda. 315
36 The Feast of Bacchus. Velazquez. 316
37 Piet Mondrian painting. 317
38 Honle Fels Venus. 318
39 Nefertiti proportions. 319
40 Ancient Greece and Roman sculptures. 320
41 Pre-Columbian sculptures. 321
MUSIC CREATION WITH THE 34-TET SCALE xi

PART II Figures (cont.) Page

42 Mayan mask. 322
43 Forbidden city sculpture. 323
44 Shiva Nataraja (deity of dance). 324
45 African mask. 325
46 Greek ceramic. 326
47 Chinese tea pottery. 327
48 Commercial logo (Toyota). 328
49 Credit cards. 329
50 “Lady Blunt” Stradivarius violin proportions. 330
51 The Kertsopoulos guitar model. 331
52 The syntonic tuning continuum. Pythagorean tuning at 702 cents. 332
53 Guidonian hand. 333
54 The circle of fifths is in reality a spiral as it never closes. 334
55 Werckmeister III temperament, full chromatic analyses. 335
56 Frequently used symbols for notation of quarter microtones. 336
57 Some microtonal symbols used by authors. 337
58 Physical nomenclature for 34-tone scales. 338
59 Scale modality, tuning, key and octave indications. 339
60 The double stave method. 340
61 One-stave microtonal musical nomenclature with two variants. 341
62 Mean quadratic dispersion as a function of the number of notes. 342
63 GR scale interval generating process (Cartwright et al. 2002). 343
64 The Asian garden set distribution scheme. 344
65 Idea for the decoration of the smithy (The Asian Garden). 345
66 Set model for the merchant’s house (The Asian Garden). 346
67 Set model for the wiseman’s house (The Asian Garden). 347
68 Model set for servant’s shed (The Asian Garden). 348
69 Model set for tea and opium house (The Asian Garden). 349
MUSIC CREATION WITH THE 34-TET SCALE xii

PART II (Appendixes) Page

First appendix
Porfolio I: Common-practice, contemporary, and popular excerpts 350
Common-practice. 350
Gloria Resurrectionis: composition in advanced Renaissance style. 350
Baroque Sarabande and Fantasy. 353
Classicism. A Viennese string quartet minuet da capo (sonata) form. 358
Romantic piano composition: Podolian Rhapsody. 364
Post Common-practice (Contemporary) music: 366
Las puertas de Adrán [Adrán doors]. 367
Penelope and the Palace Intrigues. 370
8th of March: the Exam. 370
La Fresadora [The milling machine]. 370
Popular (EuCul) music. 372
Que Foi do Meu Violão? [What happened to my guitar] 373
Tango ¡Ay Tierra Mía, Cuánto te Añoro! [ Oh my homeland…] 375
Hello Lara (swing). 376
Midle East (MECul) music. Horse Gateway. 377
Indian subcontinent (SACul) culture. Awake Your Soul for Meditation 377
Portfolio II: The Asian Garden 379
General description. 379
Plot synopsis. 382
Artistic cast. 382
Staff requirements. 383
Theatrical scenery & stage engineering (preliminary). 384
Prop. 384
Performance budget. 385
Musical compositions. 385
Prelude (scene one). 386
The Aria of Fo (scene four). 388
Duet (same scene four). 389
The Restlessness (scene five). 389
The Oboe Solo (scene six). 389
The Aria of Yun (scene six). 390
The Storm (scene six). 390
The seduction Serenade (scene eight). 390
The Abandonement Sadness (scene nine). 391
Death of Fo (scene ten). 391
The Despair of Nuan and the Fairy’s Advice (scene eleven). 392
Final Act. 392
Second appendix (Libretto) 393

PART III Third appendix (Scores) 405

MUSIC CREATION WITH THE 34-TET SCALE xiii

Relation of audio & multimedia files

Portfolio I: Common practice, contemporary and popular excerpts

# Time File name Genre/Style Scale
1 2:41 Gloria Resurrectionis 34TET Renaissance 34
2 1:11 Sarabande E major 34TET Baroque 34
3 1:16 Baroque fantasy 34TET Baroque 34
4 2:13 Last ball before de battle Minuet 34TET Classical 34
5 2:11 Podolian rhapsody 34TET Romantic 34
6 1:17 Adrán doors 34TET Early Contemp./Serial 34
7 2:09 Penelope and the palace intrigues 34TET Contemporary/Film track 34
8 0:23 March 8 The exam 34TET Contemporary/Atonal 34
Contemporary/Noise
9 0:20 The Milling-machine 34TET
music
34
10 1:57 Que foi do meu violão 34TET Popular/Bossa nova 34
11 3:06 Tierra mía… tango 34TET Popular/Tango 34
12 1:33 Hello Lara swing 34TET Popular/Swing 34
13 0:37 Horse getaway makam 34TET Maqãm 34
14 1:20 Awaken your soul to meditation 34TET Hindi 34
Portfolio II: The Asian Garden
15 2:39 The Asian Garden Prelude Contemporary-mix 34 & 12
16 4:28 The Asian Garden Fo’s love Aria Opera - Ballet 12
17 2:06 The Asian Garden Nuán & Fo duet Opera 12
18 0:28 The Asian Garden The restlessness Contemporary-mix 34 & 12
19 0:38 The Asian Garden Oboe solo Contemporary 34
20 3:53 The Asian Garden Yun’s love for Nuán Opera/ballet 12
21 1:28 The Asian Garden The storm Contemporary/ballet 34 & 12
22 4:12 The Asian Garden The seduction serenade Opera-Ballet 12
The Asian Garden The abandonment
23 1:44 sadness
Contemporary/mix/ballet 34 & 12
24 2:16 The Asian Garden Fo’s death Contemporary/mix 34 & 12
The Asian Garden Despair of Nuán and the
25 1:59 fairy’s advice
Contemporary/mix 34 & 12
26 1:05 The Asian Garden Final Contemporary 12
Both WAV and MP4 formats are included for each sample. Multimedia MP4 allows a better
following of the musical idea vested in the samples but sound quality is better with WAV.
Pitch Notation Standard
Pitches refer to the IPN (International Pitch Notation) or American Standard Pitch Notation
(ASPN, A4 = 440). Pitches for the 34-TET scale, if not stated otherwise, refer to C4 = 261.626
Hz.
Interval Ratios
Note that although in the monochords the octave (with assigned value of one) is divided into
fractions ─consequently inferior to one─ in this text, the intervals are very frequently referred
as the ratio that increases the root frequency to the corresponding pitch in the ascending octave,
and, consequently, they are greater than one. Thus, e.g., a perfect fifth is expressed as 3:2 and
not as 2:3. In this way the calculation is facilitated through spreadsheets.
Style information. Disclaimer. Copyright.
See details in last page after scores.
MUSIC CREATION WITH THE 34-TET SCALE xiv

Abbreviations, Conventions and Acronyms Used

BCE Equivalent to BC. Before Common Era.
ca. Circa (Near).
CC © Creative Commons.
CE Equivalent to AC. Common Era.
comm. commented (with comments).
Data format dd/mm/yyyy.
DAW Digital Audio Workstation.
EACul East Asia cultures.
(Ed.) Editor, Editorial.
EDO Equal Division of the Octave.
(Eds.) Editors.
e.g. exempli gratia. (For example).
EP Electronic piano.
EuCul Europe and Europeanized cultures.
FM Frequency modulation.
GR Golden Ratio.
http:/https Lowercase, even at the beginning of the paragraph.
i.e. id est. (that is).
Italic format Books and web pages titles, and for names in case of journals.
JI Just Intonation.
JND Just Noticeable Difference.
MECul Middle East cultures.
MQD Mean Quadratic Dispersion (σ).
MS MuseScore®.
[n.d.] No date.
[n.p.] No page.
[sic] Exactly as written.
p. Page.
para. Paragraph.
Phi Used indistinctly in this work for mathematical τ and – φ.
pp. Pages.
Rev. Reviewer.
RMSD Root Mean Square Deviation (ϑ).
SACul South Asia cultures.
[sic] Incorrect writing intentionally being left as it was in the original.
SD Standard Deviation.
TET Tones Equal Tempered.
vs. versus.
y/o years old.
[…] Ellipsis points to indicate omitted text.
® DOI ® is a trademark of International DOI Foundation (IDF).
Key words: 34-tone golden scale. Equal tempered scales. Tonality. Microtonal music.
Musical harmonics. Consonant intervals. Auric number. Auric section. Auric ratio. Auric
proportion. Golden number. Golden Section. Golden Ratio. Golden proportion.
Fibonacci sequence. Music software. Alternative music notation systems. Nonlinear
dynamic systems. Contemporary music creation

Abstract
The sensory phenomena of music perception are considered to be highly non-linear. The
golden ratio plays a key role in nonlinear dynamic systems and has been recognized as an
aesthetic element in many places over time. This research develops the 34-note equal
tempered scale (34-TET). A microtonal model based on the golden ratio, containing the
harmonic musical intervals, and permitting a consistent approach that embraces the
different temperaments throughout history, as well as other music cultures. These
theoretical properties are practically exposed in two portfolios, including compositional
samples of art music with European roots (from the Renaissance to the twentieth century),
popular music (bossa nova, tango, swing), maqãm, and Indian music. The second
portfolio, created within the scope of this thesis, contains the artistic work “The Asian
Garden” combining the equal tempered scales of 34 and 12 notes (12-TET), and provides
additional cultural references from China and Japan. The 34-TET scale offers an overall
approach to just intonation scale more than twice as good as that of 12-TET, with all
consonant intervals well below the differential threshold. If a maximum impurity value
was accepted, not appreciably different from that agreed upon when the equal-tempered
12-tone scale was standardized (17.65 cents vs. 15.67 cents), then the 34-TET scale would
become, additionally, a useful tool for approaching different cultures.

•••
Scholars interested either in a PDF version or a paper version of this book please contact with the
editor: Creative Best Services Mallorca SL.
[email protected]
MUSIC CREATION WITH THE 34-TET SCALE 171

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