spec

>
>It's still a curiousity when European "spectral" composers try to
>approximate the overtone series using only quartertones...
>
>J. Pehrson
>

Actually, sometimes 8th-tones are used as well.

The idea there is that the performers will naturally slide things into
proper place. So yes, the notation is a bad approximation, but the
performers will correct it.

In some cases, that may not happen, but I've certainly heard performances
where it does. The performers have to be aware of what they're playing,
and conscientious about it.

It's a practical issue. In the real world, many performers are frightened
even of mere quarter-tones. It's highly contentious to write even
1/4-tones for orchestra. On the other hand, most performers are highly
sensitive to tuning. So it's a question of bridging that gap.

24 is just one step on the way to . . . 72?

--- In MakeMicroMusic@yahoogroups.com, Christopher Bailey
<chris@m...> wrote:
> >
> >It's still a curiousity when European "spectral" composers try to
> >approximate the overtone series using only quartertones...
> >
> >J. Pehrson
> >
>
> Actually, sometimes 8th-tones are used as well.
>
> The idea there is that the performers will naturally slide things
into
> proper place. So yes, the notation is a bad approximation, but
the
> performers will correct it.
>
> In some cases, that may not happen, but I've certainly heard
performances
> where it does. The performers have to be aware of what they're
playing,
> and conscientious about it.
>
> It's a practical issue. In the real world, many performers are
frightened
> even of mere quarter-tones. It's highly contentious to write even
> 1/4-tones for orchestra. On the other hand, most performers are
highly
> sensitive to tuning. So it's a question of bridging that gap.
>
> 24 is just one step on the way to . . . 72?

That's clearly what Joseph is getting at. He loves to point out that
only two new deviations need to be learned -- sixth-tones and twelfth-
tones -- and then one has very accurate and unambiguous
representations of the first 12 harmonics (and, of course, all 29
(per octave) of Partch's eleven-limit consonances). 72-equal notation
and performance, though for very different purposes, is currently
taught and practiced at the New England Conservatory. So -- why not
push for this next step for spectral musics in which it's even
possible in the first place -- because of various audible harmonic-
series-biased effects -- to "slide things into proper place"? Clearly
it's a lot less demanding than Johnny Reinhard's *cents* notation,
which requires one, at least mentally, to distinguish 100, not 6,
parts within each semitone.

--- In MakeMicroMusic@yahoogroups.com, "Paul Erlich" <perlich@a...>

/makemicromusic/topicId_6333.html#6342

> > 24 is just one step on the way to . . . 72?
>
> That's clearly what Joseph is getting at. He loves to point out
that
> only two new deviations need to be learned -- sixth-tones and
twelfth-
> tones -- and then one has very accurate and unambiguous
> representations of the first 12 harmonics (and, of course, all 29
> (per octave) of Partch's eleven-limit consonances).

***Paul... it makes sense that accuracy to the 11 limit would include
the first 12 harmonics... but why are there 29 per octave, or is this
something obvious that I'm missing...

Thanks!

JP

--- In MakeMicroMusic@yahoogroups.com, "Joseph Pehrson"
<jpehrson@r...> wrote:
> --- In MakeMicroMusic@yahoogroups.com, "Paul Erlich" <perlich@a...>
>
> /makemicromusic/topicId_6333.html#6342
>
> > > 24 is just one step on the way to . . . 72?
> >
> > That's clearly what Joseph is getting at. He loves to point out
> that
> > only two new deviations need to be learned -- sixth-tones and
> twelfth-
> > tones -- and then one has very accurate and unambiguous
> > representations of the first 12 harmonics (and, of course, all 29
> > (per octave) of Partch's eleven-limit consonances).
>
> ***Paul... it makes sense that accuracy to the 11 limit would
include
> the first 12 harmonics... but why are there 29 per octave, or is
this
> something obvious that I'm missing...
>
> Thanks!
>
> JP

12 harmonics (on C, they're C C G C Ev G Bb< C D E F#< G, a hexad)

Within this chord, we can find 29 intervals per octave.

They are all shown, with their ratios, compared with 72-equal, here:

http://www.72note.com/erlich/intervalliccontinuum.html

The color shows "octave-equivalent harmonic entropy", colored
according to George Secor's system.

--- In MakeMicroMusic@yahoogroups.com, "Paul Erlich" <perlich@a...>

/makemicromusic/topicId_6333.html#6357

wrote:
> --- In MakeMicroMusic@yahoogroups.com, "Joseph Pehrson"
> <jpehrson@r...> wrote:
> > --- In MakeMicroMusic@yahoogroups.com, "Paul Erlich"
<perlich@a...>
> >
> > /makemicromusic/topicId_6333.html#6342
> >
> > > > 24 is just one step on the way to . . . 72?
> > >
> > > That's clearly what Joseph is getting at. He loves to point out
> > that
> > > only two new deviations need to be learned -- sixth-tones and
> > twelfth-
> > > tones -- and then one has very accurate and unambiguous
> > > representations of the first 12 harmonics (and, of course, all
29
> > > (per octave) of Partch's eleven-limit consonances).
> >
> > ***Paul... it makes sense that accuracy to the 11 limit would
> include
> > the first 12 harmonics... but why are there 29 per octave, or is
> this
> > something obvious that I'm missing...
> >
> > Thanks!
> >
> > JP
>
> 12 harmonics (on C, they're C C G C Ev G Bb< C D E F#< G, a hexad)
>
> Within this chord, we can find 29 intervals per octave.
>
> They are all shown, with their ratios, compared with 72-equal, here:
>
> http://www.72note.com/erlich/intervalliccontinuum.html
>
> The color shows "octave-equivalent harmonic entropy", colored
> according to George Secor's system.

***Hi Paul,

Of course, I know this chart well; it's on my wall! :)

I'd forgotten, though, that there were 29 intervals per octave. And
how do you get a "hexad??" That would be six pitches, yes??

Thanks!

JP