The craziness in the tuning

Thanks, everyone, for your comments this past day. I want to follow up
with several individuals, not to mention listen to some of the other
music that's been posted, but this week is going to be harried for me,
so it'll take some time.

There is one thing I want to mention about the tuning used in Chris
Bailey's sonata, but not (so far) in much of anything else I've done,
including the Bernard Hermann: negative melody springs. This is my
implementation of an idea proposed by Robert Walker: instead of using
normal, positive springs to pull melodic steps toward more even
intervals, the melodic springs are given _negative_ coefficients, which
tends to make melodic steps more _uneven_. The effect kicks in most
strongly in fast passages, and perhaps provides a welcome antidote to
the confining action of the vertical springs, which target JI intervals.

When Robert proposed this idea, I didn't think it would be pleasing, but
I'm changing my mind pretty fast! It was a bit of a bear to program,
because the matrix tends to become unstable and blow up; I have to
adjust the negative constants on the fly to prevent complete and utter
chaos from breaking out. Kind of like this list at times!

I have a feeling that a negative spring treatment of Hermann might be
pretty exciting too! When I get a chance, I'll run it thru. Also,
I'll try Chris' piece with a touch of 11-limit on top of the negative
springs - wheee!

Robert Walker, thank you again for this suggestion. Where would I be
without valuable ideas and feedback from people such as you?

JdL