Inside this archive you will find 113 SY77/99 or TG77 tunings I've created and
adapted from various sources.  100 of the tunings are from an archive I found
at ftp.ircam.fr and transcribed into SY format.  There was no information in
the archive about its creator but whoever she is did a fantastic job.  There's
another archive in the same directory in Mac format which I can't read and 
which may have more info.  

My tunings end in .tun or .dub.  The Micro31.tun and Micro53.tun are 
equal-tempered 31 and 53 note tunings respectively.  The other versions are
arrangements with doublings or compressions.  The chaos tuning is from a
random tuning generator I wrote.  The SuperCMajr tuning is a pythagorean
major tuning with the pentatonic (d minor) scale doubled in the black notes
for repeated note performance enhancement.  The Harmonic tuning is Wendy 
Carlos' interesting tuning using arcane harmonic series intervals.  Try playing
clusters with it.  

All of the programming done to modify these tunings into SY format and to
create the new tunings was done through the wonders of the Icon programming
language.  The DX7->SY77 modifying program was only 24 lines long!  Much
appreciation goes to Ralph Griswold and his work in the creation of Icon.
Icon runs on almost all platforms and source code for the language (in C) 
and interpreters and compilers are available from cs.arizona.edu.

If you would like any of the Icon code used in this project drop me a line!

Enjoy and Happy Composing!

Jeff Harrington
idealord@dorsai.dorsai.org
72570,3034 CServe

The following text describes the 100 tunings found at ftp.ircam.fr as found
in the archive.  Some of the tunings operate with only WHITE notes; some with
only BLACK notes; some with ALL...

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12-Equal  PLAIN OLD 12 TONE ET
10-equal   Probably the worst sounding scale in the world, from a just intonation point of  view
11-equal  Mind bender
13-equal  13 Equal temperament  Extremely dissonant
14-equal   Extension of Thai-style 7-et
15-equal   Harmonies you've never heard
16-equal  Blackwood: " Best thought of as four intertwined diminished seventh chords"
17-equal  Good minor 7th chords; Make diatonic scales with 3-degree wholetones and   1-degree
halftones
18-equal  Blackwood: " Three intertwined wholetone scales"   No good fifths
19-equal  A usable one for harmonic music  Nearly just minor and major thirds
20-equal  Make some strange modes by combining 4-et and 5et scales
31-equal  A very good equal temperament, similar to meantone with just 5/4 ( 10 steps),  and
nearly just 7/6 (7 steps), 8/7 ( 6 steps ) and 7/4 ( 25 steps)
Pelog USA  Modern Pelog designed by Dan Schmidt and used by Berkeley Gamelan WHITE 
 1/1 11/10 6/5 7/5 3/2 8/5 9/5 2/1
60 TO 30  Just 12-tone scale from dividing string into 60 equal parts   1/1 15/14 10/9 6/5 5/4
4/3 10/7 3/2 5/3 30/19 12/7 15/8 ALL
Overtones  Not really a scale, but the overtone series through 12 shifted into one octave   ALL
7 and 5  White keys are 7 equal-temperament, black keys are 5-ET; from Owen Jorgensen  5-et
= Javanese slendro; 7-et = Jav Pelog and is also used in Thailand
Helmholz  Just greek-style equal tetrachord scale proposed by Hermann Helmholz, 1877   16/15
75/64 16/15 WHITE
Lou's middle A 'middle' mode, from Lou Harrison, with 'half-steps' in the   middle of 4chrds:
1/1 9/8 6/5 4/3 3/2 5/3 7/4 2/1 WHITE
Lou mid 2  A variant on the scale above   1/1 9/8 6/5 4/3 3/2 12/7 9/5 2/1 WHITE
Soft diaton  From lou harrison, a soft diatonic   1/1 21/20 6/5 4/3 3/2 63/40 9/5 2/1 WHITE
Some Other  From Other Music, San Francisco; WHITE: Ptolemy's intense diatonic; BLACK:
7's   1/1 15/14 9/8 7/6 5/4 4/3 7/5 3/2 14/9 5/3 7/4 15/8 2/1
Carlos alpha From Wendy Carlos: 15,385 equal temperament, which gives just thirds and fifths 
and out of tune octaves! 5/4 at 5 steps, 3/2 at 9
Ptol malakon Diatonic malakon, or soft; = tetrachords 21/20 10/9 8/7   WHITE
Ptol Tonaion Diatonic w/ = tetrachords 28/27 8/7 9/8  Also known as Archyytas' Diatonic
WHITE
Didymus dia  A just diatonic; each tetrachord is 9/8 10/9 16/15   WHITE
Ptol Ditone  Pytagorean Diatonic = 4chords 256/243 9/8 9/8 WHITE  This scale is the
foundation of most European and Arabic music and has many name
Ptol homalon " Equable", from equal string division WHITE   relative intervals up: 12/11 11/10
10/9 9/8 12/11 11/10 10/9
Erato Enh  Eratosthenes Enharmonic  Ancient greek = tetrachords; NOT a just scale WHITE
Old Phrygian Ancient greek; = 4chords 1/1 10/9 6/5 4/3   WHITE
Tox Enh  Aristoxenes' Enharmonic   Equal tetrachords; Not a just intoned scale WHITE
Tox X-soft  Aristoxenes Chromatic Malakon, or soft tuning   WHITE
Old Ionic  Ancient greek Ionic; 1/1 9/8 5/4 4/3 3/2 5/3 9/5   WHITE
Old Aeolic  Ancient Greek aeolic; 1/1 9/8 32/27 4/3 3/2 128/81 16/9   WHITE
Arxytas Enh  Arxytas' Enharmonic   Equal Tetrachords: 28/27 36/35 5/4 WHITE
Ptol X-soft  Ptolemy's chromatic malakon:   Equal tetrachords: 28/27 15/14 6/5 WHITE
Arxytas X  Arxytas' Chromatic  Equal tetrachords: 28/27 243/224 32/27 WHITE
Ptol X-syn  Ptolemy's Chromatic Syntonon  Equal Tetrachords of 22/21 12/11 7/6 WHITE
Didymus X  Didymus' Chromatic  Equal Tetrachords of 21/21 256/243 6/5 WHITE
Farabi chrom Al farabi's syntonic chromatic, c700 AD  with equal tetrachords 16/15 15/14 7/6
WHITE
Byzan Palace  Byzantine Palace Mode  Mixed 4chords: lower 18/17, 9/7; upper 18/11,9/5
WHITE
Ishfahan 8  Medieval Arabic scale of eight tones; on white keys and Bb   Other black keys are
added graces
Zirafkend 8  Medieval Arabic scale of eight tones; on white keys and Bb   Other black keys are
added graces
Bouzourk 8  Medieval Arabic scale of eight tones; on white keys and Gb   Other black keys are
added graces
Baghdad 22  Chromatic scale from Lute of Bhagdad, 22 degrees per octave
Farabi X  Al Farabi's Chromatic c700 AD   1/1 9/8 27/20 729/512 3/2 9/5 19/10 2/1 WHITE
Blue Farabi   Another tuning from Al Farabi, c700 AD   1/1 9/8 45/32 131/90 3/2 15/8 31/16
2/1 WHITE
Zalzal  Modern Arabic scale  1/1 9/8 27/22 4/3 3/2 18/11 16/9 2/1 WHITE
Rast  Medieval arabic scale   1/1 9/8 8192/6561 4/3 3/2 32768/19683 16/9 2/1 WHITE
Zenkouleh  Medieval arabic scale   1/1 9/8 8192/6561 4/3 262144/177147 32768/19683 2/1
WHITE
Rahawi  Medieval arabic scale   1/1 65536/59049 8192/6561 4/3 262144/177147 128/81 16/9
2/1 WHITE
Hhosaini  Medieval arabic scale   1/1 65536/59049 32/27 4/3 262144/177147 27/16 16/9 2/1
WHITE
Hhidjazi  Medieval arabic scale  1/1 65536/59049 32/27 4/3 262144/177147 32768/19683 16/9
WHITE
Port Bag 1  Portuguese bagpipe tuning  approx 1/1 14/13 81/68 32/25 36/25 128/81 7/4 WHITE
Port Bag 2  An observed bagpipe tuning from Mirada do Dorro, Portugal  1/1 21/20 14/13
32/27 17/14 21/16 64/45 3/2 25/16 59/ 32 <21/10 25/11> 2/1
Port Bag 3  An observed bagpipe tuning from Moimento, Portugal   A full 12-tone scale ALL
Scot Bag 1  Like most bagpipe tunings, includes intervals involving 11  1/1 10/9 5/4 15/11
c40/27 10/6 11/6 2/1 WHITE
Scot Bag 2  Interesting: 1/1 10/9 11/9 4/3 3/2 18/11 9/5 2/1   WHITE
Scot bag 3  9/8 5/4 11/8 3/2 27/16 11/6 approx   An observed seven tone scale WHITE
Yugo bag  One observed Yugoslavian bagpipe tuning   ALL
Bulgarian  Another bagpipe tuning, observed   ALL
Land's Bag  Scottish highland bagpipe, reported by Land   Amazingly similar to Arabic Zalzal
tuning WHITE
De Caus  A 12-tone just tuning by the 17th c inventor and philosopher Salomon de Caus  1/1
126/121 10/9 75/64 5/4 4/3 25/18 3/2 25/16 5/3 16/9 15/8 2/1
Dowland  John Dowland's Lute Tuning (17th century)   A well-tempered twelve tone scale
Indian 22  Just chromatic scale from India of 22 degrees or srutis  Used to form 7tone 6tone and
5tone modes
Indian A  One observed indian mode  In cents: 0 183 342 533 685 871 1074 1200 WHITE
Indian D  Observed indian mode  In cents 0 183 342 533 685 871 1074 1200 WHITE
Indian B  Observed Indian mode  In cents 0 183 271 534 686 872 983 1200 WHITE
Indian C  Observed Indian mode  In cents 0 111 314 534 686 828 1017 1200 WHITE
Indian E  Observed Indian Mode   In cents 0 90 366 493 707 781 1080 1200 WHITE
Ch Sheng  Observed tuning from chinese sheng or mouth organ   In cents 0 210 338 498 715
908 1040 1200 WHITE
Chin bronze  A scale found on an ancient Chinese bronze instrument from the 3rd century BC 
 1/1 8/7 6/5 5/4 4/3 3/2 5/3 2/1 WHITE
Ch flute  Chinese flute, observed 1885; from Ellis  'E' and 'B' are additions to basic pentatonic
WHITE
S Pacific  Observed south pacific xylophone tuning   Pentatonic In cents 0 202 370 685 903
1200 BLACK
Singapore  An observed xylophone tuning from Singapore  In cents: 0 187 356 526 672 856 985
WHITE
Thai  Observed scale from Thailand  In cents 0 129 277 508 726 771 1029 1200 WHITE
African  Xylophone from W Africa  In cents 0 152 287 533 724 890 1039 1200 WHITE
P and S  Two observed Javanese scales: Pelog on white, Slendro on black  In cents: Pelog 0 137
446 575 687 820 1098 Slendro 0 228 484 728 960
Joyous 6  From Lou Harrison's " Joyous Procession"; 6 tones on keys C D E F# G# A#   1/1
9/8 5/4 3/2 5/3 15/8 2/1
Solemn 6  From Lou Harrison's " Solemn Procession"; A 6 tones on keys C D E F# G# A#  
1/1 6/5 4/3 3/2 8/5 9/5
Raja 6  A folk scale from Rajasthan, India; 6 tones on keys C D E F# G# A#   1/1 9/8 5/4 4/3
3/2 15/8 2/1
Terpander 6  One modern guess at the scale of the ancient greek poet Terpander, 6th c BC  1/1
11/10 11/9 11/8 11/7 11/6 2/1 on keys C D E F# G# A#
Prime 5  What Lou Harrison calls " the Prime Pentatonic"; A widely used scale   1/1 9/8 5/4
3/2 5/3 2/1 BLACK
Korea 5  According to Lou Harrison, called " the Delightful" in Korea   1/1 9/8 4/3 3/2 9/5 2/1
BLACK
Hiradoshi 5  Observed Japanese pentatonic koto scale  In cents 0 185 337 683 790 BLACK
Hira II-5  Another Japanese pentatonic koto scale   1/1 9/8 6/5 3/2 8/5 BLACK
Olympos 5  Scale of ancient greek flutist Olympos, 6th c BC as reported by Partch   Pentatonic:
1/1 16/15 4/3 64/45 16/9 BLACK
Golden 5  Based on the golden section, these ratios are all successive terms in the   fibonacci
series: relative ratios 5/4 21/20 8/7 13/12 16/13 BLACK
Septro 1-5  A slendro type pentatonic which is based on intervals of 7; from Lou Harrison   8/7
9/8 7/6 8/7 7/6 ( relative intervals ) BLACK
Septro 2-5  A slendro type pentatonic which is based on intervals of 7; from Lou Harrison   7/6
8/7 9/8 7/6 8/7 ( relative intervals ) BLACK
Mixed 4-5  A " Mixed type" pentatonic, from Lou Harrison   Relative intervals: 12/11 11/10
5/4 13/12 16/13 BLACK
Septro 4-5  A slendro type pentatonic which is based on intervals of 7; from Lou Harrison   9/8
32/27 9/8 8/7 7/6 ( relative intervals ) BLACK
Minor 1-5  From Lou Harrison, a symmetrical pentatonic with minor thirds   Relative intervals:
6/5 10/9 9/8 10/9 6/5 BLACK
Minor 2-5  From Lou Harrison, a pentatonic with minor thirds   Relative intervals: 8/7 7/6 6/5
10/9 9/8 BLACK
LPL 1-5  From Lou Harrison, a pelog style pentatonic   Relative intervals: 16/15 9/8 5/4 16/15
5/4 BLACK
LPL 2-5  From Lou Harrison, a pelog style pentatonic   Relative intervals: 12/11 11/10 5/4
16/15 5/4 BLACK
LPL 3-5  From Lou Harrison, a pelog style pentatonic   Relative intervals: 28/27 9/7 9/8 28/27
9/7 BLACK
LPL 4-5  From Lou Harrison, a pelog style pentatonic   Relative intervals: 16/15 9/8 5/4 5/4
16/15 BLACK
Mixed 1-5  A " Mixed type" pentatonic, from Lou Harrison   Relative intervals: 6/5 10/9 9/8
5/4 16/15 BLACK
Mixed 2-5  A " Mixed type" pentatonic, from Lou Harrison   Relative intervals: 6/5 15/14 7/6
16/15 5/4 BLACK
Mixed 3-5  A " Mixed type" pentatonic, from Lou Harrison   Relative intervals: 15/14 7/6 6/5
8/7 7/6 BLACK
