"Pitch, Pi,"...hmmm...

Ouch; $330 for the book. Paula Barbieri's still got a ways to go!

Seriously folks: are there technical books in other fields that ask this
much of a sacrifice? With the possible exception of the truly monumental
tomes of our time? Each volume of the (currently) 3-volume series of
Donald Knuth's "The Art of Computer Programming" weighs in at $46.95, and I
daresay one chapter of "Fundamental Algorithms" would yield as many great
nuggets of human discovery as most any tuning book.

Isn't (aren't) tunings simply the raw materials from which the 'magic' is
molded from? What cookbook could sell listing only ingredients? To be
fair, I'm going to check out the websites Mr. Lucy is providing to see more
about this.

At present, it does seem to redefine hubris. Or rachet it up a bit...

Cheers,
Jon
*------------------------------------------------------------------*
Jonathan M. Szanto | The ferment that Partch started . . . . . .
Corporeal Meadows | . . . . . . . . . . is online in the Meadow
jszanto@adnc.com | http://www.adnc.com/web/jszanto/welcome.html
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You're picture is accurate exept that the 3 and 5 identities are switched.
By the way, I've wondered about where you are for years!

Denny Genovese
Director

Southeast Just Intonation Center

World Harmony Project Inc.
PO Box 15464
Gainesville, FL 32604

Email: sejic@afn.org Web Page: http://www.afn.org/~sejic



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I tried this a few weeks ago, but it vanished into cyberspace, so
here we go again:

>From: prent@VNET.IBM.COM

>I have been unable to locate a copy of Genesis of a Music by
>Partch. I cannot remember what Partch's Tonality Diamond looked
>like. As I remember, it had otonality along one axis, lower left to
>upper right, and utonality accross the other, upper left to lower
>right as follows:
>
> 11: 8
>
> 9: 8 11: 6
>
> 7: 4 3: 2 11:10
>
> 5: 4 7: 6 9: 5 11: 7
>
> 3: 2 5: 3 7: 5 9: 7 11: 9
>
> 1: 1 1: 1 1: 1 1: 1 1: 1 1:1
>
> 4: 3 6: 5 10: 7 14: 9 18:11
>
> 8: 5 12: 7 10: 9 14:11
>
> 8: 7 4: 3 20:11
>
> 16: 9 12:11
>
> 16:11


>Then from John Chalmers:

>Prent: Harry usually rotated the Diamond on its side so that the
>1/1 (2/1) column ascended, and he indicated when the tower of intervals
>surpassed the 2/1, but your plot is basically correct.

Here are the actual diamonds from Genesis of a Music.
Partch's Expanded Tonality Diamond (Genesis p. 159) is a little
different from the one above, it's like this:

7: 7

12: 7 7: 6

11: 7 3: 3 14:11

10: 7 11: 6 12:11 7: 5

9: 7 5: 3 11:11 6: 5 14: 9

8: 7 3: 2 20:11 11:10 4: 3 7:4

4: 3 18:11 5: 5 11: 9 3: 2

16:11 9: 5 10: 9 11: 8

8: 5 9: 9 5: 4

16: 9 9: 8

1: 1

But the Tonality Diamond is not the version he used for his Diamond Marimba
(Genesis p. 261), which is:

11: 8

9: 8 11:10

7: 4 9: 5 11:6

3: 2 7: 5 3: 2 11: 7

5: 4 6: 5 7: 7 9: 7 11: 9

1: 1 5: 5 3: 3 7: 7 9: 9 11:11

8: 5 5: 3 12: 7 14: 9 18:11

4: 3 10: 7 4: 3 14:11

8: 7 10: 9 12:11

16: 9 20:11

16:11


Lydia Ayers

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