Tape Swap and the Library of Congress

Tape Swap Gang-

Some good news for all of us in the Swap-

Yesterday, Steve Soderberg, a librarian at the Library of Congress,
offered to archive the TD Tape Swap tape for us at LC. This is good news as he
will be archiving it properly using "Microtone" as a subject heading which
will make it easy to find using an obvious search term. It's also good because
it offically documents our group and ties us all together as a group.

Now, if there is a Tape Swap contributer that DOES NOT want their piece to go
on the Copy for the Library of Congress please e-mail me and tell me so. I
will make a specially edited copy for LC's purposes. Also, since this is being
archived in an important place I am going to have that copy burned on 2 CD's.
And since 2 CD's have more room on it than one 90 minute tape I will not have
to edit material given to me!

In any case, Neil Haverstick has sent me a tape so he's definitely on now and
yes, back from the dead, Brian McLaren graciously sent me 12 tapes full of
different composers writing between the cracks along with Brian's submissions
for the tape.

da



SMTPOriginator: tuning@eartha.mills.edu
From: gbreed@cix.compulink.co.uk
Subject: Demisemitones
PostedDate: 26-08-97 20:11:06
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>> but I think I understood you
>> to suggest that the distance between a minor second and an augmented octave
>> should be viewed as roughly a quartertone?
>In this case,
>we're talking about the difference between an augmented unison
>and a minor second.

Oooops. Yes, I mean to say augmented unison. I have no idea why I said
A8 instead of A1. Weird...





>The definition only applies to syntonic meantones.

I musta missed something: Which definition are you referring to? The
disemitone/quartertone?



SMTPOriginator: tuning@eartha.mills.edu
From: non12@deltanet.com
Subject: Indian 5-limit, Symmetry
PostedDate: 30-08-97 05:00:34
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Gary Morrison wrote:

>> The definition only applies to syntonic meantones.

> I musta missed something: Which definition are you referring to? The
> disemitone/quartertone?

A demisemitone is the difference between an augmented unison and
a minor second. An augmented unison is the approximation of a
chromatic semitone, and a minor second of a diatonic semitone, in
a syntonic meantone. This is the only definition of these
intervals I know, and it only applies to syntonic meantones. Hence
the same is true of demisemitones. 24tet is a special case,
because a subset of it is a syntonic meantone temperament.

The interval 7/4 is called a subminor seventh. If you define that
as a minor seventh flattened by a demisemitone, you have a
definition of an interval. In syntonic meantones, 7/4 is an
augmented sixth, so the two definitions agree.

I have adopted the / and \ symbols to notate boosts of this kind
of demisemitone. There is technically a lesser demisemitone
being the difference between a greater demisemitone and an
augmented unison.

In JI, there are 2 minor sevenths -- 16/9 and 9/5 -- so there
are two greater demisemitones defined the 7-limit way. One is
(4 -2 0 0)H - (-2 0 0 1)H = (6 -2 0 -1)H and the other is
(0 2 -1 0)H - (-2 0 0 1)H = (2 2 -1 -1)H. The former is a
septimal comma, and has priority over the \ symbol. / and \ can
be used generally to denote small deviations from the 5 prime
limit when meantone (eg staff) notation is used for JI. Does
whoever originally suggested them object to this?

To unite two threads, if you define the sruti scale:

r q r q r q r q r q r q r r q r q r q r q r
S r R g G M m P d D n N S'

in a manner consistent with 22 octave reduced fifths, a septimal
comma is well approximated by q, so these small srutis are
demisemitones and, for example, the first sruti is r\.



SMTPOriginator: tuning@eartha.mills.edu
From: PErlich@Acadian-Asset.com
Subject: RE: 5-limit in India?
PostedDate: 31-08-97 16:16:01
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>An augmented unison is the approximation of a chromatic semitone,

In concept, the two should be precisely synonymous.




>24tet is a special case,
>because a subset of it is a syntonic meantone temperament.

I presume you're referring to 12TET, which is essentially 1/12-comma
meantone?

I guessed - perhaps incorrectly - that by "syntonic meantone
temperament", you mean a tuning with a syntonic-comma mechanism (i.e., a
pitch difference between the dominant of the dominant and the submediant of
the subdominant), but clearly 12TET does not have such a difference.

But assuming that that is what you mean by that term, how would you
approach 34, which can be viewed alternatively either as two interlaced
17TET scales (which does not have a syntonic-comma mechanism), and 34TET
which very definitely does.



SMTPOriginator: tuning@eartha.mills.edu
From: mr88cet@texas.net
Subject: JI vs. ET
PostedDate: 01-09-97 16:46:13
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