In January of this year, on the occasion of the first electronic music concert held at the University of Toronto, I composed a work for voice and electronic sounds in which different tunings provided the basis of three different octave species. Whereas the voice part was based on the diatonic tempered scale, the two accompanying parts were each in a different system of tuning. One part was based on a scale of twelve tones in which there was a difference of 63 cents between the successive steps; the second part employed tones separated by 172 cents. The results were sufficiently encouraging to attempt a generalization and organization of a comprehensive system of tuning for further experimentation.

The purpose of this paper is to draw attention to some aspects of this tuning method. It is offered as a suggestion to electronic music composers who are interested in tone-row techniques as one direction in which experimental music might grow.