guitarist who plays in 5 ET to twentysomething ET

A friend of mine asked me if I knew the name of a guitarist who
plays in various equal temperaments (5 to 20+) and who was on
NPR about a year ago. I didn't know, but does this ring a bell
for any of you?

Erling Wold
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
5618 Ludwig Avenue, El Cerrito, CA 94530 USA
voice (510) 215-0331 * fax (510) 486-0868 * Muscle Fish (510) 486-0141
erling@musclefish.com
http://www.musclefish.com/erling.html
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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I seem to remember a book about dynamic intonation called "Theory of an Evolvin
g Consonance" or something like that- I'll try to find it later today-

=========================================================================
| Allen Strange |
| http://www.music.sjsu.edu/Music/strange.html |
|_______________________________________________________________________|
| Electro-Acoustic Music | International Computer Music Association |
| Studios | 2040 Polk St., Suite 330 |
| School of Music | San Francisco, CA 94109 |
| San Jose State University |VOX + (408) 395-2538 Fax + (408) 395-2648 |
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| Fax +(408) 924-4773 | We hope to see you at the ICMC97 |
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> I would like to try to use the pitch bend technique of tuning, where
> each channel is initially given a pitch bend and then all notes with
> that offset from ET are played on that channel (i.e. all C's on chan 1,
> all C#'s on chan 2, etc.). At least that is a scheme I remember someone
> proposed somewhere. This seems to me quite a general technique that
> doesn't tie me to one machine.

I know what you mean about it not tying you to one machine. In two very
different ways though, it does tie you to one machine.
1. It pretty much ties you to one timbre since 12 (presumably you'd do all 12
pitch classes) of your 16 channels will be tied up to play a single
timbre. Now I'm not suggesting that there's anything wrong with composing
in one or two timbres of course, but that is a limitation, be it desirable
or not.
2. As far as I can tell from the MIDI spec, there is no standard amount of
pitch deflection that a give amount of change in pitch-wheel value should
produce. I would not be surprised if there is a defacto standard, perhaps
whatever the DX-7 does or something to that effect. Similarly, I know of
no guarantee that all instruments will bend pitch consistently with each
other. By that I mean that, best I can tell from the MIDI spec alone at
least, some instruments could bend pitch in proportion to frequency, some
in proportion to log frequency, and some in proportion to period, if they
so desire. Again, there may be a defacto standard that will save you.

Perhaps somebody will correct me if I'm wrong.


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Gary is correct in that the multi-channel technique I use reduces
the number of timbres available. But, not necessarily to one -
if your tuning can be approximated adequately by 8 12-tet tunings,
you can have two, ... etc.
The "General MIDI" spec does set a standard sensitivity for pitch
bend sensitivity, and all systems seem to follow it now. In any
case the pitch bend sensitivity is a settable parameter within the
MIDI spec, so this need not be a problem.

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> I seem to remember a book about dynamic intonation called "Theory of an
> Evolving Consonance" or something like that- I'll try to find it later
> today-

I'm pretty sure that there's one called "Theory of Evolving Tonality", and my
vague recollection is that's Joseph Yasser's paper on fibonacci-like sequences
of ETs. But I may be mistaken.


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Yes- it is "The Theory of Evolving Consonance" by Paul Rosberger"
Fairleigh Dickinson University Press, 1970 and I notice it is 23 years
overdue from when I checked it out of SJSU library in JUne of 1993.....!

=========================================================================
| Allen Strange |
| http://www.music.sjsu.edu/Music/strange.html |
|_______________________________________________________________________|
| Electro-Acoustic Music | International Computer Music Association |
| Studios | 2040 Polk St., Suite 330 |
| School of Music | San Francisco, CA 94109 |
| San Jose State University |VOX + (408) 395-2538 Fax + (408) 395-2648 |
| 1 Washington Square | Email: icma@sjsuvm1.sjsu.edu |
| San Jose, CA 95192-0095 | URL http://coos.darmouth.edu/ |
| Telephone +(408) 924-4646 | ~rsn/icma/icma.html |
| Fax +(408) 924-4773 | We hope to see you at the ICMC97 |
| | in Thessaloniki, Greece |
| | http://alexandros.csd.auth.gr/~icmc97/ |
| | email:icmc97@alexandros.csd.auth.gr |
|=======================================================================|

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On Thu, 7 Nov 1996, Allen wrote:
> Yes- it is "The Theory of Evolving Consonance" by Paul Rosberger"
> Fairleigh Dickinson University Press, 1970 and I notice it is 23 years
> overdue from when I checked it out of SJSU library in JUne of 1993.....!



Bad! Mustn't do!



8-)>

[Note the name of my node and guess what profession I'm in.]

--pH (manynote@library.wustl.edu or http://library.wustl.edu/~manynote)
O
/\ "Well, so far, every time I break he runs out.
-\-\-- o But he's gotta slip up sometime . . . "

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