LIMIT OR CAP

I think there is a misconception that I think needs to be address. In
the number world, primes have a special property, that does not
translate into the music world. This is the case with the ninth which
can be explained as the 3 of 3 but musically exist as an entity itself.
This is not how it treated in many cases, the disjunction of tetrachords
being one example. The same can be said about the 15 in my experience,
There is also a problem with the word limit because if we talked of 11
limit it could be thought of as not being allowed. the word "cap" is
less ambiguous--
Kraig Grady
North American Embassy of Anaphoria Island
http://www.anaphoria.com

On Wed, 11 Nov 1998, Sanford Forte wrote:
> It seems that the combinations and
> permutations of musical scales/temperments is virtually infinite. So why
> wouldn't we all have "one of our own"? And maybe find one that "resonated"
> most closely with our"personal" temperment (pun intended) be the one we
> prefer?

This reminds me of something I've read about some Native American
musical traditions, namely that when making, let's say, a flute, the
builder would simply make the holes where they fell most comfortably
under his fingers, then learn the idiosyncrasies of the resulting scale
and use them in the music made on that flute. I think some African
musicians may do something similar when they use the natural resonant
pitches of discovered objects in percussion instruments. The
ethnomusicological term used for this kind of stuff is "found pitch".

--pH http://library.wustl.edu/~manynote
O
/\ "Do you like to gamble, Eddie?
-\-\-- o Gamble money on pool games?"

NOTE: dehyphenate node to remove spamblock. <*>

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