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RE: Paul's paper, and wallpaper

🔗"Paul H. Erlich" <PErlich@...>

6/24/1998 12:40:58 PM
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Sorry if the MIME stuff is still happening. I'll try to get someone to
look into it.

Paul wrote:
>>I hope you get a chance to check out my paper on (two-step-sized)
>>decatonic scales as a basis for 7-limit tonality, either in the
>>just-published Xenharmonikon 17, or at
>>http://www-math.cudenver.edu/~jstarret/22ALL.pdf.

Rick Sanford wrote,

>Me, too. feel free to send it to me.

Can't you access the web site?

>You're not saying Xen 17 has been
>published and mailed yet, are you?

Yeah, but John Chalmers is fixing an error that slipped through the
cracks, so my copy is a little premature. If you're going to get this
anyway, then I don't have to send you anything, do I?

>Fow what it's worth, the 7-limit rap
>need not apply: I don't write music with "consonant" chords and things.

Well then you probably won't be too interested in my paper. It's meant
to be a 7-limit analogue of traditional, 5-limit diatonic tonality.

>>By the way, Easley Blackwood describes some amazing properties of
>>the symmetrical decatonic scale in 15-TET

>Amazing is right. The ideas work great. Too bad more people
>(or even he himself) don't write more music in that way.

Hear hear! Exactly. The diatonic scales that he tries to structure his
15tET pieces with sound horrible, and the overarching decatonic scale
from which he pulls his diatonic scales passes unnoticed in his
compositions. But '"consonant" chords and things' have EVERYTHING to do
with why his 15tET decatonic ideas are amazing! Like the traditional
octatonic scale, the scale is replete with consonant triads (5 major and
5 minor, as opposed to the octatonic's 4 and 4). But unlike the
octatonic scale, which has no "perfect fifth"-relations between the
roots of the triads, the 15tET decatonic triads' roots form a circle of
"perfect fifths"!

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