Kami-Tuning List 821

Tuning List Mills College listproc@eartha.mills.edu

To: Kami Rousseau
TUNING Digest 821

Dear Kami :

For almost 20 years I have been working on an instrument I call DINARRA.
(read DEENAHRA), (from guitARRA DINamica).
DINARRA is a 53/Oct guitar. The very position of the frets are according to
one ninth of a skhisma, resulting two sizes of commas. The bigger is about one
and a half times wider than the smaller, and are 12 per Oct.

Somebody asked me why I used this temperament and not 53 TET because the
latter seems to be more simple than the former and is practically the same in
practice. When I had the first DINARRA made I thought that the bigger spaces
would help to see and find the proper fret to play, and in practice it helped
a little. But the great improvement in order "to see" the notes was to paint
the semitonic frets with colors according to a system. Yet I think the bigger
spaces help us a little ("in" , "one before" or "one after" ) and on the other
hand they are connected in some cases to the harmonic 7.

In May 1995 I published the book "Principios de la Gama Dinamica" (in
Spanish) where I included a Chapter (about 30 ps., 7 figs., 2 flow sheets and
three computer programs) including the way to calculate the fret positions
according to the physics. There is a BASIC program for PC.
The parameters are
The length of the chord,
the "heights" between the chord and the plane of the fretboard,
and the height of the frets.

It may be adapted for other temperaments.

The Dinarra strings are tuned just as for a Guitar, with some occasional
variation (E, A, D, G, B, E , in commas Base-A, 31- 0- 22 (or 23)- 45- 9-
31).

Acoustic Dinarras have a warm sound because there are many notes that make
"echo" (sympathetic resonance) with one or several other open strings. When an
acoustic guitar is refreted in a DINARRA the change of the emotional message
of the sound is immediate and really incredible !!. It is necessary to
experience the change for better understanding. Even more so, in time the wood
of the instrument is reeducated giving out a very warm sound.

Well, if you need more information I'll be happy to oblige.

--Eduardo


Eduardo Sabat-Garibaldi E-mail : esabat@chasque.apc.org
Simon Bolivar 1260 Phone: (05982) 78 09 52
11300 Montevideo FAX : (05982) 29 83 91 (Automatico)
Uruguay


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>Does anyone have tuning data (beyond Kunst and McPhee) on the Balinese
>seven tone Gamelan Selunding (variations in spelling: Slonding, Salonding,
>Selundung etc.)?

Since seeing your post on the gamelan list, I looked through Ernst
Schlager's _Rituelle Siebenton-Musik auf Bali_, probably the most
comprehensive study of selonding yet published. Regrettably, he gives only
the nearest equal-tempered pitches for each of the selonding ensembles that
he found on the island. I can post those, but I don't think that's what you
were looking for.

There was a copy of a gamelan selonding made at UCLA some years ago, but I
don't remember by whom (Max Harrell?). Perhaps someone on the gamelan list
could help out. Also, Bob Brown supervised the building of a new gamelan
selonding a few years back for a group he sponsored. Perhaps he would know.
(Email me if you want the address I have for him.)

Bill

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^ Harvey Mudd College URL: http://www2.hmc.edu/~alves/ ^
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