Stocking Stuffers

If one is considering stocking stuffers for introducing the
pleasures and strange aural haloes of the unexpected
intervals, I highly commend Mamoru Fujieda's recent release
on the Tzadik label "Patterns of Plants." Alternate tunings
of various sorts, lots of koto, some sho, viola de gamba, and
so on. Algorithmically generated (at least the raw material -
it's not quite as clear as I'd like).

Sorry to have been away - it's merger time and we need a new
corporate website designed. Mr. Gibson is quite a piece of
work, as my mom would say...I'll have to go back through the
ah...volume of stuff. Hey kids - no irritant, no pearls.

Best,
Gregory

_
Knowledge is not enough/Science is not enough/Love is dreaming this equation.
Gregory Taylor/WORT-FM, 89.9/Madison,
WI/http://www.msn.fullfeed.com/~gtaylor


SMTPOriginator: tuning@eartha.mills.edu
From: Carl Lumma
Subject: On the Septimals
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>> In comparison to 6:5, I find that 7:6 is no less discordant, but

(Ooop. I guess I meant that to say "no more discordant", but whatever...)




>The 9/7 behaves quite a bit differently in a plain dyad
>than it does in a 4,5,6,7,8,9 chord.

True.

Another interesting comparison I've mentioned before on the list is how
9:7 sounds played with a P5 compared to playing with a M6 (by which I mean
the P5 or M6 built upon the same root as the 9:7, and played with that
root). 9:7 nearly bisects 5:3, by the way.




>I'd never thought about this before, but it is so true. It has that
>"square" feeling I always associate with the 3:2.

"Square" is also a good choice of adjectives.


SMTPOriginator: tuning@eartha.mills.edu
From: Didier ASCHOUR
Subject: microMegas #3
PostedDate: 21-12-97 13:27:32
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