JI and Microtonal Glossary

On Wed, 30 Jul 1997 "kris peck" wrote:

>It would appear that this list needs a good FAQ on some of the topics
>brought up. It should contain definitions of basic terminology and general
>descriptions of the most common types of structures and scale generation
>techniques.

The world Harmony Project has been preparing a web page component along
these lines which is allmost ready to post. It was compiled from some
existing sources, such as Partch and Darreg's glossaries as well as some
research by sejic advisor Adam B. Silverman, and other members of the SEJIC
board of advisors. It will be accessable from the web address below.



Best wishes,

Denny Genovese
Director

Southeast Just Intonation Center sejic@afn.org
World Harmony Project Inc.
PO Box 15464 http://www.afn.org/~sejic
Gainesville, FL 32604 USA



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>I am interested in hearing about any list members' experiences in
>writing in Just Intonation for acoustic instruments, such as orchestral
>instruments,

I'd be willing to bet that Johnny Reinhard would have some ideas for you.



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From: mr88cet@texas.net
Subject: RE: theories
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Christopher Smith wrote:
> I am interested in hearing about any list members' experiences in
> writing in Just Intonation for acoustic instruments, such as orchestral
> instruments, natural brass instruments (cf. Koechlin's "Sonneries"
> for natural horns), or specially designed instruments other than
> Partch-type percussion (such as harmonic flutes, Branca-type zithers,
> etc.). What are the capabilities and drawbacks, how well do performers
> adjust, how accurate are the results with what prime limits, etc.

I have written some pieces using Javanese gender metallphones tuned to
7-limit just intonation combined with Western strings. My experience is
that 5-limit intervals are pretty easy, as they are used to making small
adjustments in thirds when playing in quartets.

Septimal intervals took some practice and very close listening, but once
they "tuned their ears" they were usually very well in tune. I suppose it
depends on the quality of your players and their ears.

I helped them out a bit sometimes through scordatura tuning together the
use of open strings and natural harmonics. At times the non-harmonic
partials of the metal bars would confuse them, but generally just when
tuning the open strings before we started. The details are in a 1/1 article
that should be coming out any day now.

Bill

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
^ Bill Alves email: alves@hmc.edu ^
^ Harvey Mudd College URL: http://www2.hmc.edu/~alves/ ^
^ 301 E. Twelfth St. (909)607-4170 (office) ^
^ Claremont CA 91711 USA (909)607-7600 (fax) ^
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^



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