Wolfs

> By the way: In Just Intonation, how do you avoid a wolf in a progression
> like the following: I V I vi ii V I? I think you have to choose between a
> wolf and a comma slip, and I generally prefer the former.

Orrrr... Let the tonic wander. (Some of you probably guessed that was
coming, eh?)


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Here's what Rex Weyler of JusTonic says about how their software deals
with comma errors and such.

(By the way, Bill Meadows didn't have much to do with this thread; I
just copied him on the message to which Rex responded here.)


--------------- Forwarded Message ---------------

From: rexw, INTERNET:rexw@pro.net
To: Gary Morrison, 71670,2576
Date: 11 Dec 1996 , 12:32 PM

RE: Re: Justonic Follow-Up

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To: Gary Morrison <71670.2576@CompuServe.COM>
From: rexw@pro.net (rexw)
Subject: Re: Justonic Follow-Up

Hi Gary: Thanks for copy of Bill Meadows communique RE: dealing with the
comma. You suggest three approaches: (1) no change, accept some mistuned
chords, (2) shift pitch, or (3) let the tonic wander. In answer to how does
Justonic deal with this issue: we allow all three. The Justonic approach is
to not dictate how a musician should deal with this, but rather to give as
many options as possible. With our system: (1) a KEY change modulates the
key tonal center. (2) a ROOT change identifies the tonal center within a
key
and always in relation to the key (that is, a second ROOT change does not
modulate from the notes of the current harmony, but from the original key
tonal center). (3) NO ROOT CHANGE means that all tones retain their ratio
value to the key tonic, and therefore may result in mistuned harmonies,
wolf
notes, etc. (4) A fourth option is a SCALE change which can also happen in
real time, and can result in any "note" being assigned any ratio (pitch) at
any time.
Where we go from here is to extended scales, non-octave scales, or
anything a composer or musician wants to do. If musicians and composers can
articulate to us what they want to achieve, we will attempt to build it
into
the Justonic system. We absolutely do not believe instrument designers
should be in the business of dictating how music should be played. That's
why we got into this, to create instruments that actually served musicians
and placed all parameters at their fingertips.
The Justonic Tone Palette additive synthesizer does the same with
timbre, giving musicians precision and flexibility with both pitch and
timbre. It's a long road, but that's our vision. We have Ling Lun,
Pythagoras, Zalzal, Zarlino, Mersenne, Helmholtz, and a long line of others
beind us (or above us) encouraging us forward. Please forward any ideas or
questions. Cheers.

Rex Weyler
Justonic




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