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Re: [tuning] Digest Number 1127

🔗justin.white@davidjones.com.au

2/20/2001 5:05:51 PM

>>It must be
>>pointed out that I am not including those who use ET's or temperaments
for
>>their own sake and aesthetic properties but more those who use tempering
to
>>approximate JI intervals.

G'day Paul,

< Justin, you make it sound as if these goals are incompatible. However,
both
goals are clearly embodied in, for example, meantone temperament, the most
important temperament in Western music from 1500-1800!>

What I am criticising is not this attitude so much because these theorists
clearly regard their target ratios as having greater consonance than the
surrounding area. But you yourself have stated that higher primes [perhaps
those over 7] are not more audibly consonant than the surrounding pitch
continuum but still insist on using ratios in tempered lattices. I find
this a little perplexing !

respectfully,

Justin White

🔗Paul H. Erlich <PERLICH@ACADIAN-ASSET.COM>

2/21/2001 1:21:09 PM

Justin wrote,

>>>It must be
>>>pointed out that I am not including those who use ET's or temperaments
for
>>>their own sake and aesthetic properties but more those who use tempering
to
>>>approximate JI intervals.

I wrote,

>< Justin, you make it sound as if these goals are incompatible. However,
>both
>goals are clearly embodied in, for example, meantone temperament, the most
>important temperament in Western music from 1500-1800!>

Justin wrote,

>What I am criticising is not this attitude so much because these theorists
>clearly regard their target ratios as having greater consonance than the
>surrounding area. But you yourself have stated that higher primes [perhaps
>those over 7] are not more audibly consonant than the surrounding pitch
>continuum but still insist on using ratios in tempered lattices. I find
>this a little perplexing !

Justin, it seems you're misunderstanding something here. Every direct
connection in my lattices is a consonant interval that _is_ audibly more
consonant than the other, non-directly-connected intervals in the tuning or
temperament in question. Does that answer your confusion? If not, perhaps
you could point to a specific example?