19-tet "guitar" piece

>This was beautiful, Bill! Nicely shows off how good the diatonic
>scale's harmonies sound in 19-tET, as Woolhouse was trying to tell us
>back in 1835. I can imagine some prominent folk singer refretting a
>Martin to 19-tET and turning on the masses . . .

Thanks, Paul,

It is pretty diatonic, isnt it?

As you surmised, it is not a "real" guitar, though it was played on
a guitar controller (one of the ztars by starr labs).
Basically I played it twice through, and then edited out the mistakes
(guitar controllers are somewhat unreliable at times, not to mention
my technique). I also dubbed the "bass melody" in the middle separately.

The tone was a sampled guitar (actually 8 separate samples spread out
across the fretboard), and looped. The sampler was an ASR-10, which has
a nice "mono-mode" so that its easy to play it as if it were six
mono-voiced synths, one for each string. I mapped the purely harmonic spectra
to the (nearest) partials of 19-tet, but since 19-tet is so close to
12-tet (and to JI) this didnt affect the sound of the individual
samples much - the main difference was the slight "phasing" or "chorusing"
effect you hear.

The glissandi were played by just sliding fingers between frets
and having a very small portmento on the sound. All slides start
at one 19-tet scale step and end at another (no bending strings).

Bill Sethares

Hi

I really liked it also. Beautiful sound!

I mapped the purely harmonic spectra
to the (nearest) partials of 19-tet, but since 19-tet is so close to
12-tet (and to JI) this didnt affect the sound of the individual
samples much - the main difference was the slight "phasing"
or "chorusing"
effect you hear.

Did you use MetaSynth for the harmonic mapping?

Mary