axes, CD

Unfortunately, my Roland GR 300 is not MIDI compatible...however, it
is a marvelous item, tracks great, and is especially good for space
music. Pat Metheny, Bill Frisell, Adrian Belew and Robert Fripp are all
long time GR 300 users.
I want a metal fretboard for my fretless simply because I don't like
the feel of my guitar now.
And the CD...I recommend selling them at $10/CD...it's a nice round
price, and I believe that is all a CD should cost anyway. We'll work out
the details as we go...we need 7 more people to come in, and we can get
it rolling. Once I have cash in hand, it will be a fairly easy,
uncomplicated process to complete. Please post me, and we'll
chat...Hstick


SMTPOriginator: tuning@eartha.mills.edu
From: jmenich@juno.com (john e menich)
Subject: instruments
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>Second point. For a CD, what about resuscitating the "19 for the 90s"
>project? Of course I have a vested interest in that, having a 19-tET piece
>almost ready not in the original planned collection.

Having been peripherally involved in Brian McLaren's "19 for the 90s"
project, I'd like to comment on that thought: I personally would much
prefer to leave that entirely in Brian's hands, and follow through with
Neil's suggestion.

I have heard mixed signals as to whether Brian intends to go through
with "19 for the 90s".


SMTPOriginator: tuning@eartha.mills.edu
From: mr88cet@texas.net (Gary Morrison)
Subject: Re: Instruments
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ITEM:

Erlich wrote:

<(exactly the same, in fact, except that Wilson


Wilson, one of the last of the pre-CAD drafting
virtuosi, clearly views his drawings as two
dimensional representations of multiple dimension
tonal spaces. In the famous _Connoisseur_ article
on Southern Cal. microtonalists, there is a nice
photo of Erv with some of his styrofoamball and
stick constructions, representing 3 dimensional
views. =


ITEM:

Monzo wrote:


It would be convenient if this were the case, but
in Europe, most 'modern' orchestras tune to 443 or
higher, and most early music groups use something
like 415.

You should also note that outside of the US, La Monte
Young uses 50 Hz as a basis for Dream House-related
works.

ITEM:

Schoenberg was a fiddle player.

By all accounts, he was not a virtuoso string player, just a very good
musician who could get by on the instrument in good company. He was
famously not a pianist, but insisted on having the pianists in his theory=

classes play the examples for him (''Mr. Stein...''). Both Lou Harrison a=
nd
John Cage told me that Schoenberg's harmony and counterpoint instruction
did not involve singing, just examples played on the piano. So much for t=
he
possibility of Just Intonation there.

I have previously posted excerpts from his letter to Yasser and some
remarks about the playing of violinist Rudolph Kolisch, who would begin
concerts by tuning all four strings to the piano in order to get the
temperament right, and whose quartet performances of the complete
Schoenberg quartet cycle remain the definitive intonational reading of th=
e
works in their attempt to temper the intervals. =