JI and ET

I find this discussion on JI vs ET very interesting. If I understand
correctly, perhaps the principle benefit of equal tempered scales is
symmetry, which allows for modulation and key changes. Every note is
largely understood in its relation to other notes. With non ET scales,
the relationship of one note to the others can get much more complex.
Jim had quoted from Danielou about the content of a note being fixed and
building it up over the course of a whole piece of music, then subtle
differences of meaning can be given to each note. Is this how JI
composers create music? I would be very interested in hearing how non ET
composers create music, how do you structure a piece of music where
pitches are all over the place, and the relationships are completely
different from equal tempered music. Thre must be some composers on this
forum who have structured compositions in just tunings, or any non ET
tuning for that matter.

Brian Carlson
Denver, Colorado

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I strongly agree with Neil that what's most interesting in the JI/ET
debate is discussing what tunings are best for what styles. And I'd also
add to that what styles are best for each individuals' level and nature of
skill, and of course most appropriate for the immediate circumstances.

In my fascination these past couple years with 88CET tuning, I've come
to realize what sorts of musical styles are worthless to try to pursue in
that tuning. At one time I had the beginnings of a Minuette scored for
wind-ensemble. Big mistake - a minuette is much too civilized for such a
wild tuning! The sorts of compositions that seem to do best for 88CET are
either:
A. Raucous, in the sense of a dixieland or marching band, or
B. Dreamily exotic and eerie sort of piece, perhaps a little like what would
have come of Debussy writing a mystery- or horror-movie score!

Ivor Darreg made a lot of assessments along those lines as well, like
the idea that 17TET was best with bright, brassy music, whereas 22TET was
best for mellower, easy-going compositions. 31TET works great for the
"Renaissancy" sound of quarter-comma meantone, with which it is synonymous.


I also agree with Neil - I can't ring out my "hear hear" too many times
- that we all need to practice our trades a LOT. And not only instrumental
performance, but also compositional, production, and teaching skills as
well. Microtonal musicians have to be super(wo)men. Our music has to be
exciting for all of the same reasons that any music needs to be exciting:
Compositional brilliance, performing finesse, clean recording, powerful
emotion, and clever underlying ideas. And all of that in spite of the fact
that we're also pioneering the basic underlying capabilities of a new
tuning as we go.

It's a very difficult task.

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