July 2009:
I've been around the horn with this. The second period scales, which are the scales I used in my opus 132, duets and opus 139 solos for horn, is the best set of scales for an equal tempered tuning system. The third set of scales is not winning any grants from Canada Council or Sask. Arts Board yet, but as I write my horn trios(opus 156) #1 starts the Rennaiscance, #15 is awakening and #16 is fully microtonal. It's just too cool. Altered tone make me perk up and listen more attentively. With my experinece on natural horn, I can put a pitch anywhere, so too this will be expanding my horizons.

The third period
Includes the eight major scales and the 56 minor scales
It has a way to veiw the system in a very natural microtonal way or in a way that will fit with equal temperment.

Second period
I use the same relationship of line to half or whole step but most of the trigrams are separated by a fifth.
This was transitioned in around opus 77 and I may still be using these for equal temperament pieces.

In the first period, or method of organizing tones in relationship to the I Ching, I use the solid lines as whole steps and the broken lines as half steps & I don't seperate the hexigrams by the interval of the fifth.
This type of scale is used from about opus 17 to opus 77.

I Ching links:

What is the I ching?

Shau Yung's circle

Why scales?

7 or 8 tone scales?

Fixed tonics?

1st period organization

2nd period organization

ways to use this in music

A 432

the 64 harmonics

Colour in music

3rd period organization

4th period organization

I ching techinques for musical composition

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