In A Minute
© 1993, 1999 by Joe Monzo
Written April 1993 in Philadelphia, "justified"
March 1999. Title inspired by a favorite phrase of
a lady friend of mine in Phoenix.
part 1 F# 0 G#+160 A -1357 B -2138
part 2 C# +80 D +1800 D# -641 E +1100
part 3 B -80 C -1300 C# +80 C# +1200
********
Justified 1999-3-17
title inspired by Honey
========================
Main part reprised twice, each with different tuning
===========================
revised the order of justifications again
|part A |
3 3^3*5
3^2 3
1 5
5 3^2*5
--------- ----------------
B 3^-1 G 3^-1*5^-1
the bland one, had to come first
then
3 3^2
3^2 5^2
1 3*7
5 3
--------- -------------
B 3^-1 F# n^0
sounded nice and "pointed" for contrast
as the second one
then this part was better reversed:
| part B |
3 3^2 3 3^2
3^2 13 3^2 13
1 3*7 1 11
5 3 5 3
--------- ----------- --------- -----------
B 3^-1 F# n^0 B 3^-1 F# n^0
actually, I like 11 better where it was,
but I like 3*7 better there too!
**************************************
this was it "for a minute":
| part A |
3 3^2 3 3^3*5
3^2 5^2 3^2 3
1 3*7 1 5
5 3 5 3^2*5
--------- ------------- --------- ----------------
B 3^-1 F# n^0 B 3^-1 G 3^-1*5^-1
| part B |
3 3^2 3 3^2
3^2 13 3^2 13
1 11 1 3*7
5 3 5 3
--------- ----------- --------- -----------
B 3^-1 F# n^0 B 3^-1 F# n^0
7 3^2 11
5 3 3*5
3^2 5 3
1 1 1
--------- --------------- -----------------
B 3^-1 A 3^1*5^-1 G 3^-1*5^-1
| part C |
3*5 3
3 5
5 3*5
1 1
---------- ---------
F# n^0 B 3^-1
===========================
| part A |
Here's one I tried and omitted:
3 5^2
3^2 3^2
1 3*5
5 3^3*5
--------- ----------------
B 3^-1 C 3^-2*5^-1
This second chord had a nice clash
that produced beating, but I ultimately
tossed it out. After adding 2 measures
to try all 5 possibilities, I decided the
phrase structure wasn't good, and needed
to delete those extra two measures.
I did want to keep it - I liked the beating.
----------------------------------
I rearranged the chords I did keep
-----------------------
This one:
3 3^2
3^2 13
1 11
5 3
--------- -----------
B 3^-1 F# n^0
was originally second, but had to come later.
The microtonal changes coming from 11 and 13
sounded weird if too early. So I moved it to third.
-----------------------------
This one:
3 3^3*5
3^2 3
1 5
5 3^2*5
--------- ----------------
B 3^-1 G 3^-1*5^-1
sounded objectively the most pleasant,
and probably the closest to the 12-Eq.
But it was bland compared to the others.
It was originally third, but I moved it forward.
----------------------------------
If I had to pick only one JI version to keep,
it would be this one:
3 3^2
3^2 5^2
1 3*7
5 3
--------- -----------
B 3^-1 F# n^0
This is closest to what I originally
heard in my head.
***********************************
| Part B |
sounded better when I changed
3 3^2
3^2 13
1 11 the 11 in F# to 3*7.
5 3
--------- -----------
B 3^-1 F# n^0
=========================
The last chord of part B:
3^2*5 11
3*5 3*5
3 sounds much prettier 3
1 with 44 instead of 45 1
----------------- (i.e., 11:6 instead of 15:8 for -----------------
G 3^-1*5^-1 the "major 7th" with the "D" G 3^-1*5^-1
===========================
| part C |
just basic standard 5-limit "major 7th" chords.
simple, and I like them that way.
- Monzo
Updated: 2001.7.3
By Joe Monzo
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