Erlich experiment still on burner??

At one point, Darren Burgess and Paul Erlich mentioned they would
construct a sound experiment involving Paul Erlich's 12 out of 22-note
scale. Darren was going to work with CSOUND, and Paul was perhaps
making some .wav files. Eventually, these files will be posted with
some of the other ones I did in the mp3.com "Tuning Lab." The details
for the experiment were given by me in a post on TD 719. Is this still
"on the burner" or did people get too busy to do it?... Maybe too much
MOS to munch on??

____________ ______ ____ __ _
Joseph Pehrson

Where are the files? Did I miss the URL?

-Carl

I am glad I subscribed! I only wish I had more free time to persue
every interesting issue mentioned here.

Wrt to the upcoming tuning experiment, I caution you to
find some way to isolate successive chords from each other.
(Who knows, root succession might have some effects (-: .
I think that this is the reason that several subjects confused major
with minor chords in the old experiments by Heinlein and by Henver.)

You can count me, too among those who perceive a strong difference
between the otonal and the utonal versions of V7. ("Otonal" means
overtones of a fundamantal bass, like 4:5:6:7, meantone C-E-G-A#;
"utonal" means the inverse, tones with a common overtone, like
1/9:1/7:1/6:1/5, meantone G#-C-D#-F#.)

I have asked several people whether they perceive the difference;
they almost invariably say that the difference is great. I have
also asked several people to fine-tune by ear a V7 (the 5th being
fixed, varying the two other tones). They reach either the one
or the other of the above tunings, the first one more often;
their own results surprise them.

At one time I asked two friends to try this tuning exercise;
each reached a different tuning, then they became agitated with each
other, saying that he surely is "tone deaf" if he cannot perceive the
correctness of the other's tuning.

Suppose that we agree that there is some significance in the
dualistic analysis (o-/u-tonality) of the V7-like chords. The
question arises whether it is important that the root of G#-C-D#-F#
is then A# (the lowest common overtone). We would also want to
determine to what degree root progressions are significant, also
in comparison to the effect of inter-chordal intervalic relations.
In an attempt to address these questions I have set up some choice
tests with chord progressions. You are invited to participate; visit
<http://users.hol.gr/~anakreon/test>.

- George Kahrimanis anakreon@hol.gr