RE: repeating patterns

>>Here's something I've wanted to try, maybe someone already has. Suppose I
>>took two 12TET scales separated by 80/81. Then one would have both nice
>>sounding thirds and a wide open modulation horizon.
>
>I did this quite some time ago and also posted a question whether anyone else
>had. I separated the scales by 15 cents rather than 80/81 to produce better
>thirds.
>
>>One idea I had for a keyboard setup was to use the left hand on one 12TET
>>and
>>the right hand on the other. Then to play a simple diatonic scale one might
>>have a pattern like RRLRRLLR.
>
>All major triads have the root and fifth in the left hand, the third in the
>right hand. All minor triads have the root and fifth in the right hand, and
>the third in the left hand. This was about the most sophisticated tuning I
>could get out of my Casio CZ-1. Taken to its logical limit, this idea leads
>to 72TET (which, besides the nearly pure triads, has unique representations
>of all 11-limit intervals and is consistent through the 17-limit).
>
>>If I understand how the "k-limit" term is used, it might be useful to make a
>>finer distinction. Suppose I take a set of notes (2**n)(3**m)(5**p) where n
>>and m are unbounded but p is constrained to be 0 or 1. My understanding is
>>that this scale would be called 5-limit. The scale where p is also allowed
>>unbounded values would also be 5-limit. Perhaps the case of unbounded
>>exponents is not of sufficient interest to merit a new term?
>
>I don't think the case of BOUNDED exponents is of sufficient interest to
>merit a new term; someone finding themselves imposing such constraints may be
>better served by the odd-limit definition I (and Partch) use rather than the
>prime-limit definition you seem to be suggesting above.
>
>>Jim
>
>-Paul


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From: "Paul H. Erlich"
Subject: Reply to Gregg Gibson
PostedDate: 11-12-97 00:07:37
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