Kronos concert

I forgot to mention that Kronos will not be performing Partch's US Highball
at the BAM concert on November 16. However, they will be playing Riley's
"Cadenza on the Night Plain", if I'm not mistaken. If anyone will be there
and would like to meet and chat, please let me know.

Adam

_________________
Adam B. Silverman
153 Cold Spring Street; A3
New Haven, CT 06511
(203) 782-1765

abs22@pantheon.yale.edu



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Gary Morrison asked (off the list):
>> An idea which I have toyed with (but not yet implemented, mostly out of
>> laziness) is to notate, at least when writing single-voice-per-staff music,
>> tuning references for complex (extended JI or less-than obvious) intervals.
>> For instance, when a violinist would read a Bb7, they would see the seven
>> and automatically tune it as a 7/4 or 7/6 to some sounding pitch. However,
>> if I have modulated to the key of Gb7, I would notate a Gb7 enclosed in
>> parenthesis on the staff.
>
> Can you elucidate this a little more? For example, what does the "key of
>Gb7" mean? I presume that this is some particular mode built upon Gb and
>containing a 7:4 seventh? How then would you specify this particular
>mode, and
>how would you switch to a 9:5 minor seventh?
>

Let's change the example to a chord written F:Bb7:Eb7 (1/1, 21/16, 7/4)
-The bass plays F, no problem.
-The soprano sees Eb7, and plays Eb approximately a quartertone
flat, knowing to tune a "7" relationship because she has the "7"
diacritical.
-The alto sees Bb7, but must tune a complex interval. She sees the
"7", but doesn't know how to tune it since she is a bit lower than a 4/3
from the bass--no man's land. Since she sees the cue (Eb7) written in her
part, she sees that the soprano pitch is a 4/3 above hers, and knows to
which pitch she should tune her simple relationship.

Another example: what if the bass moves from F (1/1) to GL+ (8/7), and then
the alto must play a 5/4 from this new fundamental? She would see in her
part BL+ over a cue (GL+), and knows to hear a 5/4 in relation to the bass
rather than some kind of seventh.

A 9/5 minor seventh would come under my "easy to hear" interval
classifications. Since nobody sees a "7" they know not to tune too far
away from their "home" chromatic scale. If I wanted an F#+ (45/32) in the
chord C:F#+:G (1/1, 45/32. 3/2), I would give the alto an F#+ over a cue
(D).

Pardon my ambiguity, I hope that this is clearer.

-Adam

_________________
Adam B. Silverman
153 Cold Spring Street; A3
New Haven, CT 06511
(203) 782-1765

abs22@pantheon.yale.edu



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