RE: TUNING digest 960

>>'' Even Daniel and Little Wolf
>>preferred 10 12 15 17 to /12 /10 /8 /7, despite the smaller numbers in the

>>latter.*** Only in changing the comparison to 17 20 24 30 vs. /7 /6 /5 /4
>>does the subharmonic version win out. ''

>Check my posting. This is NOT what I said. My overall preference is for /7
>/6 /5 /4, but in the next inversion, I prefer 10 12 15 17 to /6 /5 /4 2/7.

Where is the contradiction? Note that /6 /5 /4 2/7 /12 /10 /8 /7, and that
the inversion of 10 12 15 17 that is comparable to /7 /6 /5 /4 is 17 20 24
30. So didn't I get it right?


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> In my (modestly named) "DOWNING I", I tune the Ds above middle C as the
> dominant of V, and the Ds below middle C as the submediant of IV.

Oooo. As with cases of playing in more than one tuning at a time, I'd
have to think about that one, and for similar reasons...



> I just have to be careful how I voice chords.

Do you have any methodical ways of addressing that, or just trial with
hopefully not too much error?

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On Thu, 23 Jan 1997, Gary Morrison wrote:
> > In my (modestly named) "DOWNING I", I tune the Ds above middle C as the
> > dominant of V, and the Ds below middle C as the submediant of IV.
>
> Oooo. As with cases of playing in more than one tuning at a time, I'd
> have to think about that one, and for similar reasons...
>
> > I just have to be careful how I voice chords.
>
> Do you have any methodical ways of addressing that, or just trial with
> hopefully not too much error?
>
Actually, I tuned C# and F# as eleventh partials, and Eb, Bb and Ab as
seventh partials. After a little experimenting, I realized that all of
these notes were pretty useless below middle C, as they need to be
relatively high in a chord voicing to sound smooth. So, then I went back
and tuned the black notes below middle C to more useful pitches. That's
when I realized that I could also use different Ds above and below middle
C.

I decided to use the D that's a fifth above G for the notes above middle
C, and the D that's a third below F for the notes below middle C because
the D below middle C is more likely to serve as a root of a ii chord (and
its advantageous to have a low note for a root) while the D above G is
more likely to be voiced as an upper voice.

BTW, I will be doing a presentation for the local piano tuners guild in
March demonstrating this tuning and a couple of pieces.

I also use this tuning to demonstrate intervals to my sight singing
classes. Even the non-major class yesterday could hear the difference
between the 8:9 and 9:10 major seconds. (And they really liked a Gershwin
excerpt of Prelude #2 which showed the 6:7 'blue' third!)


Joe Downing,
in Syracuse


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I was looking at 7-limit modal scales, and I noticed the weird interval
8/7. My calculator told me that it is 4/3 / 7/6. It is also 9/8 * 64/63.

I don't want to sound like I am septimising everything, but could it be
a kind submediant of IV? The only other time I saw this interval was in
the scale :

7/7 8/7 9/7 10/7 11/7 12/7 13/7 14/7.


-Kami

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A wonderful use of a descending 8/7 is as the motif for water in Harry
Partch's _Water Water_. I simply recall Partch's useage to sing the
interval right off.

Johnny Reinhard
American Festival of Microtonal Music
318 East 70th Street, Suite 5FW
New York, New York 10021 USA
(212)517-3550/fax (212) 517-5495
reinhard@ios.com

On Fri, 24 Jan 1997, Kami Rousseau wrote:

> I was looking at 7-limit modal scales, and I noticed the weird interval
> 8/7. My calculator told me that it is 4/3 / 7/6. It is also 9/8 * 64/63.
>
> I don't want to sound like I am septimising everything, but could it be
> a kind submediant of IV? The only other time I saw this interval was in
> the scale :
>
> 7/7 8/7 9/7 10/7 11/7 12/7 13/7 14/7.
>
>
> -Kami
>


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> I don't want to sound like I am septimising everything, but could it be
> a kind submediant of IV?

I personally would call 8:7 more of a "supramajor second", or more
specifically a "septimal supramajor second". Perhaps terms like
submediant, dominant, and such, as well as the roman numerals, are only
marginally meaningful in a nondiatonic environment. 8:7 and 7:6 don't fit
diatonic molds all that well.



> The only other time I saw this interval was in
> the scale :
> 7/7 8/7 9/7 10/7 11/7 12/7 13/7 14/7.

That's a really fun, ear-scorcher tuning! I've written a bit with it
and enjoyed doing so.

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