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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