RE: [tuning] Re: Friendly introduction to hypermeantones (1 of 2)

Excellent article, Margo!!!

Since you're willing, under special circumstances, to extend the
hypermeantone range to include 27-tET, with its fifths ~9.15¢ wider than
pure, might you also be willing to extend the "stylistic meantone" range to
include, under special circumstances, 26-tET with fifths ~9.65¢ flatter than
pure? As Dave Keenan and I have discussed, you can get very interesting
effects from such a tuning, which I've been able to experiment with to a
limited extent on my keyboard.

>The most obvious compromise of our pure 9:7 hypermeantone tuning is
>the tempering of the fifths (and fourths) by about 6.82 cents, an
>amount approaching that in 1/3-comma meantone (~7.17 cents) or 19-tet
>(~7.22 cents), and also the tempering of major seconds and minor
>sevenths by a full 1/2 septimal comma in the context of such
>relatively concordant sonorities as 4:6:9, 6:8:9, 8:9:12, or 9:12:16.

Certainly in the case of 9:12:16, I would say that, for most musically
useful timbres and registers, the 16:9 minor seventh is already too complex
a ratio to be perceptibly worsened by mistuning. Instead, bringing it any
distance (in this case, halfway) towards 7:4 only improves its concordance.
Meanwhile, the two perfect fourths are only tempered by 1/4 of a septimal
comma. As a result, this two-stacked-fourths chord (and for similar reasons,
chords of three stacked fourths) sounds very pleasant in "pure 9:7
hypermeantone tuning", or the virtually identical 22-tET.