TEMPERAMANCY ORIGIN FILES
TEMPERAMANCY 1-7
SERIALISTIC MICROTONALITY
EQUAL APPROACH TO ALL PITCHES
IN ANY CHROMATIC STYLE SCALE UP TO 1000EDO
THROWING OF DICE / DIVINATION BOARD
SIMILAR TO I CHING METHODS
USE A PITCH EFFECT PEDAL, WHAMMY PEDAL,
RE-MIX THE PITCHES/SPEED AND COMBINE ANY
SERIALISM, SPATIALISATION, DODECOPHANY, DISSONANT SCHOOLS
IN THIS MANNER, EACH RECORDING ALLOWS FOR SPACE IN OVERLAYING
CREATED FROM 2009-2018 (creative commons no commercial share alike 4.0)


1-1a.mp3
1-1b.mp3
1-1c.mp3
1-1d.mp3
1-1e.mp3
1-1f.mp3
1-1g.mp3
1-1h.mp3
1-1i.mp3
1-1j.mp3
1-1k.mp3
1-1l.mp3
1-1m.mp3
1-1n.mp3
1-1o.mp3
1-1p.mp3
1-1q.mp3
1-1r.mp3
1-1s.mp3
1-1t.mp3
1-1u.mp3
1-1v.mp3
1-1w.mp3
1-1x.mp3
1-1y.mp3
1-1z.mp3
1scalemix.mp3
1scalemixpart2.mp3
7sins.mp3
adultharmonious.mp3
extrememirrors.mp3
failure.mp3
figurative03.mp3
figurative07.mp3
figurative22.mp3
fissure.mp3
hiddenfriend.mp3
II-1-1a.mp3
II-1-1b.mp3
II-1-1c.mp3
II-1-1d.mp3
II-1-1e.mp3
II-1-1f.mp3
II-1-1g.mp3
II-1-1h.mp3
II-1-1i.mp3
II-1-1j.mp3
II-1-1k.mp3
II-1-1l.mp3
II-1-1m.mp3
II-1-1n.mp3
II-1-1o.mp3
II-1-1p.mp3
II-1-1q.mp3
II-1-1r.mp3
II-1-1s.mp3
II-1-1t.mp3
II-1-1u.mp3
II-1-1v.mp3
II-1-1w.mp3
II-1-1x.mp3
II-1-1y.mp3
II-1-1z.mp3
II-1-2a.mp3
II-1-2b.mp3
II-1-2c.mp3
II-1-2d.mp3
II-1-2e.mp3
II-1-2f.mp3
II-1-2g.mp3
II-1-2h.mp3
II-1-2i.mp3
II-1-2j.mp3
II-1-2k.mp3
II-1-2l.mp3
II-1-2m.mp3
II-1-2n.mp3
II-1-2o.mp3
II-1-2p.mp3
II-1-2q.mp3
II-1-2r.mp3
II-1-2s.mp3
II-1-2t.mp3
II-1-2u.mp3
II-1-2v.mp3
II-1-2w.mp3
II-1-2x.mp3
II-1-2y.mp3
II-1-2z.mp3
II-1-3a.mp3
II-1-3b.mp3
II-1-3c.mp3
II-1-3d.mp3
II-1-3e.mp3
II-1-3f.mp3
II-1-3g.mp3
II-1-3h.mp3
II-1-3i.mp3
II-1-3j.mp3
II-1-3k.mp3
II-1-3l.mp3
II-1-3m.mp3
II-1-3n.mp3
II-1-3o.mp3
II-1-3p.mp3
II-1-3q.mp3
II-1-3r.mp3
II-1-3s.mp3
II-1-3t.mp3
II-1-3u.mp3
II-1-3v.mp3
II-1-3w.mp3
II-1-3x.mp3
II-1-3y.mp3
II-1-3z.mp3
II-1-4a.mp3
II-1-4b.mp3
II-1-4c.mp3
II-1-4d.mp3
II-1-4e.mp3
II-1-4f.mp3
II-1-4g.mp3
II-1-4h.mp3
II-1-4i.mp3
II-1-4j.mp3
II-1-4k.mp3
II-1-4l.mp3
II-1-4m.mp3
II-1-4n.mp3
II-1-4o.mp3
II-1-4p.mp3
II-1-4q.mp3
II-1-4r.mp3
II-1-4s.mp3
II-1-4t.mp3
II-1-4u.mp3
II-1-4v.mp3
II-1-4w.mp3
II-1-4x.mp3
II-1-4y.mp3
II-1-4z.mp3
II-1-5a.mp3
II-1-5b.mp3
II-1-5c.mp3
II-1-5d.mp3
II-1-5e.mp3
II-1-5f.mp3
II-1-5g.mp3
II-1-5h.mp3
II-1-5i.mp3
II-1-5j.mp3
II-1-5k.mp3
II-1-5l.mp3
II-1-5m.mp3
II-1-5n.mp3
II-1-5o.mp3
II-1-5p.mp3
II-1-5q.mp3
II-1-5r.mp3
II-1-5s.mp3
II-1-5t.mp3
II-1-5u.mp3
II-1-5v.mp3
II-1-5x.mp3
II-1-5y.mp3
II-1-5z.mp3
II-1-6a.mp3
II-1-6b.mp3
II-1-6c.mp3
II-1-6d.mp3
II-1-6e.mp3
II-1-6f.mp3
II-1-6g.mp3
II-1-6h.mp3
II-1-6i.mp3
II-1-6j.mp3
II-1-6k.mp3
II-1-6l.mp3
II-1-6m.mp3
II-1-6n.mp3
II-1-6o.mp3
II-1-6p.mp3
II-1-6q.mp3
II-1-6r.mp3
II-1-6s.mp3
II-1-6t.mp3
II-1-6u.mp3
II-1-6v.mp3
II-1-6w.mp3
II-1-6x.mp3
II-1-6y.mp3
II-1-6z.mp3
II-2-1a.mp3
II-2-1b.mp3
II-2-1c.mp3
II-2-1d.mp3
II-2-1e.mp3
II-2-1f.mp3
II-2-1g.mp3
II-2-1h.mp3
II-2-1i.mp3
II-2-1j.mp3
II-2-1k.mp3
II-2-1l.mp3
II-2-1m.mp3
II-2-1n.mp3
II-2-1o.mp3
II-2-1p.mp3
II-2-1q.mp3
II-2-1r.mp3
II-2-1s.mp3
II-2-1t.mp3
II-2-1u.mp3
II-2-1v.mp3
II-2-1x.mp3
instile.mp3
korruption.mp3
linear.mp3
precursoraria.mp3
ROUND1-1.mp3
ROUND1-1r.mp3
ROUND1-2.mp3
ROUND1-3.mp3
ROUND1-4.mp3
ROUND1-5.mp3
ROUND1-6.mp3
ROUNDEIGHTandMASTER.mp3
ROUNDFIVE.mp3
ROUNDFOUR.mp3
ROUNDONE.mp3
ROUNDSEVEN.mp3
ROUNDSIX.mp3
ROUNDTHREE.mp3
ROUNDTWO.mp3
sound of pi.mp3
temperamancy-altar-ego.mp3
tm3scale1.mp3
tm3scale2.mp3
tm3scale3.mp3
tm3scale4.mp3
tm3scale5.mp3
tm3scale6.mp3
tm3scale7.mp3
tm3scale8.mp3


NOTES:
THE BRAIN FORMS PATTERN ASSOCIATIONS OF PITCH AND TONE BASED ON PREVIOUS LISTENING EXPERIENCE.
THE BRAIN DOES NOT FORM THEORETICAL ASSOCIATIONS OF SCALE BECAUSE OF DIGITAL REFERENCE POINTS.
IT IS RIDICULOUS TO SAY THAT A CHROMATIC TONE OF 72EDO IS DIFFERENT THAN 67EDO.
MUSICAL RELATIONSHIPS ARE BASED ON THE CIRCLE OF 5THS, EXCERPTED FROM THE HARMONIC OVERTONE SERIES OF NATURE.
WHILE TEMPERAMANCY MAY BE SEEN AS ANTI-NATURAL, IT CAN ALSO BE SEEN AS A COMPUTER-MUSIC EXTREME.
SIMILARLY TO MUSIC OF CHANGES, MANY CHANCE/DIVINATORIAL OPERATIONS CAN BE APPLIED TO SUCH VAST NUMBER SCHEMES.
IF SOMETHING IS TOO MUCH SELF-SIMILAR, THEN IT BEGINS TO CREATE A MIRAGE EFFECT.
IT IS FOOLHARDY TO EXPECT A PRACTICAL APPROACH TO CHROMATIC SCALES MORE THAN 50EDO (up to 1000edo has been applied here).
THE EXPECTATION OF EXTREMELY CHROMATIC (non-5th, dissonant) MICROTONALITY IS THE OPPORTUNITY FOR PATTERN RECOGNIZANCE.
SYMMETRY, SPATIALIZATION, AND TONE COMBINE TO FORM THE UNDERLYING RHYTHMIC IDEAL OF TIME-MANIPULATION.
TEMPERA=COLOR MANCY=DIVINATION/MAGIC TONE/TIMBRE=COLOR.
MICROTONAL PITCHES CAN CREATE A TIMBRE AS WELL AS AN HARMONY.
THE MORE ONE EXPERIMENTS WITH DISSONANT-SCHOOL SERIALISTIC CHROMATICISM IN ELECTRO-MICROTONAL COMPUTER MUSIC, 
THE MORE ONE DISCOVERS THE ERRONEOUS NATURE OF MICROTONAL THEORY IN REGARDS TO STANDARD 12 TONE COMPOSITION,
AND THE INTER-RELATION BETWEEN PATTERN CREATION, HARMONIOUSNESS, DOMINANT-7 CADENCES, DISSONANCE, AND RANDOMNESS.
(the thirst and desire for microtonality in its more avant-garde aspect can be acquired here fully).
OUTSIDE OF MUSICAL CONCEPTS BEING REVEALED HERE, THERE ALSO EXISTS THE PSYCHOLOGICAL AFFECT OF THE TONAL SPECTRUM.
DURING THE CREATION OF TEMPERAMANCY II, FOR EXAMPLE, I PERSONALLY EXPERIENCED A STRANGE SENSE OF DEJA VU.
IT SEEMS AS THOUGH CERTAIN HITHERTO UNKNOWN AND UNLISTENED TO PITCH COMBINATIONS CAN RESURRECT AN ANCIENT MENTAL VOID.
CAN IT BE THAT ANCIENT MEMORIES CAN BE RESONATED IN THE PSYCHOLOGICAL-MIND-SOUL BY THE USE OF OBSCURE MICROTONES?