George Secor's mapping of Partch's Scale

George Secor's mapping on Partch's scale drawn by Erv Wilson

While not added to the Archives directly, The document Mapping Of Partch's Scale on Secor's Keyboard has been added to Secor's section of the Main Library. http://anaphoria.com/secor.html I provide this page as it includes related documents of which this keyboard drawings by Wilson provide an open door to how Partch's scale could be expanded to 72 or even how this layout provides a uniform fingering of Partch's scale.

Constant Structures

Wilson's note on Constant Structures to John Chalmers 1965

Here is one of Wilson's earliest mention of the subject of Constant Structures. This page is apart of a document looking at 3 22 tones scales. Thanks to John Chalmers for making this available sometime back from his collection that is still being archived.

Meta-Ptolemy [Some Collected Papers}

Chain of 7 tone scales within the 24 tone array in Wilson's Meta-Ptolemy

Wilson collected his papers on Meta-Ptolemy together. This is what is done here with some added notes http://anaphoria.com/metaptolemy.pdf The scale offers an interesting chain of  7 tones scales not unlike those we find on various African Ballophones and offer an exploration into like territory.  Composer Stephen Taylor has used this scale here. http://www.thesonicsky.com/music/microtonal-cartoon-cues/

Two Papers on Partch's Tuning

   Erv is responsible for showing Partch the possibility of inverting the Diamond of what later became the Quadrangularis Reversum. He also helped Partch construct this Marimba. Erv's drawings is a constant contribution throughout the second edition of Partch's Genesis of a Music . Something one used to his style of drawing becomes easy to pick out. A rare double flute from Bolivia found by Erv's brother was another gift he bestowed upon Harry which he  used prominently in Delusion of the Fury.
   Here are two documents just a few years later commenting on first Partch's use of 392 that he felt too much was being made of, and provides an explanation here. The second paper shows a comparison of Partch's 43 tone scale  to a 41 tone space. Like a similar example also found with Novaro's 7 limit diamond [1927] this lead to reinforce his observations of Moments of Symmetry and Constant Structures as "naturally occurring' tendencies in how people construct scales. The latter he defined as when any interval occurs in a tuning it will always be the same number of steps. He found Partch and Novaro both taking their Diamond structures and intuitively filling the space with as close of a constant structure solution possible. He spoke on more than one occasion how he observed Partch following his ear using many  near pitches to simpler ratios rather than sacrifice a musical inspiration or inclination.

Wilson-On Partch's Use of G 392

Wilson's comparison of Partch's scale with 41 ET

The Harmonic and Subharmonic Ogdoads with 12 Tones

This quick note written between other papers dated from 1996 shows the possibility of placing a the 13 limit with the harmonic and subharmonic series within a single 12 tone series. Placed at the distance of the 15 means that both series also have the 15th  of their series. The idea of placing these two series apart like this can be seen on page 15 of  http://anaphoria.com/earlylattices12-.pdf
That scale of Gary David illustrates 2 harmonic and 2 subharmonic 9 limit pentads with 12 tones.  He was the first to point out the use of the 15 as a mirror point with 12 tone scales which here we can see is applied in a slightly different way.

Kornerup Notes

http://anaphoria.com/kornerup.pdf

Here is the second page to a new file  http://anaphoria.com/kornerup.pdf which gives a nice comparison between Yasser and Kornerup whose series are maybe not as close as has been assumed. An unfortunately damaged excerpt of Kornerup can be found in this section
http://anaphoria.com/library.html
It is not clear off hand what Wilson means here by 7/6 meantone. Comments are welcome on this point.

Adding to RAST.PDF

This shows the scale with neutral thirds (Rast-like) evolving by a set of tetrachords.

A 22-tone Diaphonic Scale

 This is a rare occurrence of Wilson presenting a Diaphonic Scale in its Harmonic over it Subharmonic form. Other Diaphonics scales are presented in the first section of the Wilson Archives and one can also find a comment of Diaphonic scales. The two pages have been edited placing the two charts together to allow them to be viewed easily at the same size.
A PDF of these pages is available here.

A Double Bosanquet Keyboard or the 2/7 keyboard

I have to thank George Secor for posting this keyboard. It illustrates how one might introduce doubled rows [running bottom left to upper right] to accommodate such tunings as using the half fifth as a generator.
Later Erv would relabel this keyboard the 2/7 keyboard as seen on page 8 of http://anaphoria.com/gralspectrum.pdf . One can see how then the generator lies in the half of 3/2 range.