Re: [tuning] Re: 17 limit scale and Seventeeness

Hi Dave,

Seventeeness is an interesting subject, I think. Partch thought it important
enough that he calculated several pages of 17 limit ratios (published
posthumously in Enclosures 3.) Of course, Partch never used 17-limit
intervals in his compositions.

I have explored the 17th harmonic in my composition "Trespass," a quartet for
soprano and string trio. The tuning is quite recognizable, and personable.
There is possible chord function composition with it, and it does not sound
like 12-tET. Some have made suggestions that since Gallilei focused on the
17th harmonic for finding his 99 cent semitone, that this would be an obvious
character interval, but it is not. The semitone being equal tempered or not
is fairly insignificant regarding music matters.

My spin, though, is to use a just intonation variant which I have called
"harmonic 17." This signifies that all the intervals used contain ratios with
a "17" multiple in either its numerator or denominator. This way, every
single note has "seventeeness" built in to it.

Re any description of a scale with a single 17-ratio in a sea of 7-limit,
theoretically it would have to do with function. If the "pinion" (foreign or
outcast tone in Chinese music) is ornamental (even as a "detuned" note), then
the case could me made that it was not functioning as a "17-limit"
composition. However, you could say it is a 7-limit scale with a single
ratio of 17.

Best, Johnny Reinhard

Dave!
Helmholtz also used the 17th to explain the full diminished 7th
chord (10-12-14-17). Personally 17 sounds pretty close to 12 et so much
so that i haven't been that attracted to it. Possibly we hear the 12 ET
semitone in certain situations as a 17 without labeling it that. But
those who have put more time into it might object. I know that Poole
feels the same as I.

Afmmjr@aol.com wrote:

> Hi Dave,
>
> Seventeeness is an interesting subject, I think. Partch thought it
> important
> enough that he calculated several pages of 17 limit ratios (published
> posthumously in Enclosures 3.) Of course, Partch never used 17-limit
> intervals in his compositions.
>
> ce.

-- Kraig Grady
North American Embassy of Anaphoria island
http://www.anaphoria.com

The Wandering Medicine Show
Wed. 8-9 KXLU 88.9 fm

My spin, though, is to use a just intonation variant which I have called
"harmonic 17." This signifies that all the intervals used contain ratios with
a "17" multiple in either its numerator or denominator. This way, every
single note has "seventeeness" built in to it.

That was my spin as well

cheers
Pat