3rd comma meantone and the 19/oct trumpet

I originaly suggested this fingering, to be used with the 2nd and 3rd
harmonics (as well as their multiples).

> cents cents
>Valve # 12/oct 19/oct
>1 200 126,32
>2 100 63,15
>3 300 189,47
>4 500 252,63
>Using this set of slides, the fingering would be similar to a regular
>trumpet.

John Chalmers confirmed that:
> A fourth valve is necessary, but apparently the the modifications are
> not too complex.
Piccolo trumpets usually have 4 valves, to enable them to play the low G
and the notes below. What I would like to find is a soprano instrument
with 4 valves (cornet, trumpet, or fluegelhorn.)

Gary Morrison showed that we were not restricted to cutting the tubes:
> I would think that it would be fairly easy to cut the tubes that valve tubes,
>and easy to lengthen them (since you have a slide anyway).

The only "real" difficulty was:
>... in trying to make an even shorter 2nd valve crook than a piccolo trumpet already >has. As you know the 2nd valve crook is already barely a
>half circle. Maybe it would be possible to shorten the valve casings and
>try to get an alternative set of slides.

Gary proposed an interesting solution:
>2. Increasing the tuning differences of alternate fingerings (e.g., making
> first and second play 4/19 down and third play 5/19). and not necessarily
> increasing the number of valves.


19TET is like 3rd comma meantone, it has a just major sixth. The trumpet
is an instrument that plays notes from the harmonic serie. This interval
is found between harmonic 3 and 5. Would it be practical to use the 3rd
or 5th harmonic as the tonic? It would automaticaly give us the pure 5/3
or 6/5.

-Kami

Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl
with SMTP-OpenVMS via TCP/IP; Sat, 31 Aug 1996 19:34 +0200
Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA10825; Sat, 31 Aug 1996 19:36:04 +0200
Received: from eartha.mills.edu by ns (smtpxd); id XA10727
Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
for id KAA29915; Sat, 31 Aug 1996 10:36:02 -0700
Date: Sat, 31 Aug 1996 10:36:02 -0700
Message-Id:
Errors-To: madole@ella.mills.edu
Reply-To: tuning@eartha.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@eartha.mills.edu

I have done detailed analysis of the dominant seventh, German, French
and Italian sixths. I can fax my analysis to anyone interested.

Don't know much barbershop. But my choir tunes very good harmony with
church choral/folk/pop music.

Linus Liu.

>Paul, I think your elaboration is sufficient(g). I'm a barbershopper and
>we don't tune with any *.tet scale that I'm aware of. We tune by ear to
>achieve max consonance. I'm assuming that we tune 4:5:6:7 regardless of
>the the Key note. The G-B-D-E#(F) chrd(sol-ti-re-fa) is one of the basic
>chrds which define the style in it's return to C-E-G(do-mi-sol) via the
>circle of 5ths. But you must at least go to D-F#-A-C(re-fi-la-do) and
>return thru G-B-D-F to C-E-G to define a simple bbshop progression. What
>you call a "clash" is just returning home via the circle of 5ths and is
>the essence of the bbshop style. Have you ever sung 4 part bbshop
>harmony?
>
>Ed Dotson
>ldotson@sprynet.com
>73757.1062@compuserve.com


Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl
with SMTP-OpenVMS via TCP/IP; Sun, 1 Sep 1996 16:55 +0200
Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA11555; Sun, 1 Sep 1996 16:56:49 +0200
Received: from eartha.mills.edu by ns (smtpxd); id XA11589
Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
for id HAA11739; Sun, 1 Sep 1996 07:56:46 -0700
Date: Sun, 1 Sep 1996 07:56:46 -0700
Message-Id: <199609011455.PAA18068@gollum.globalnet.co.uk>
Errors-To: madole@ella.mills.edu
Reply-To: tuning@eartha.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@eartha.mills.edu