Re: [tuning] Digest Number 1307

Hi John

I wonder about the dominant 7ths. The 9/10 of root gives you
a 6/5 at the top, so more relaxed, which seems nice,
but the 8/9 gives a 4/3 above the tonic which is also nice.

At the end of the third bar for the piano part, of the piece I play,
it has G + (D -> F) which is surely a V7.

It goes to
C F,
resolving to the I.

The C F there is on the first beat of the bar, and sustained for a quaver,
so quite prominent, and one thinks a nice 4/3 for it would be better than
the other way of using a 27/20 = 9/8*6/5 to help with the G to the F minor third
of the V7 (which doesn't even have the G sounding).

The F is a repeated note, and the way it is used, is a kind
of anticipation of the next note, and then the C also carries through to
the I (with a semiquaver rest).

So, that kind of suggests it would work best with the 9/10 of root
perhaps.

Once flute is added on repeat of that section,
it becomes:

C D F

(resolving to the I)

so the C F looks like a II7 there I think.

(I'm not that used to analysing music in this way
so it's quite slow for me to do, but I think it is
prob. correct.)

Anyway, for the piece I practice at least maybe the 8/9 would
be more suitable for the sparse textures (it has only three
lines all the way through, two for piano and one for the
flute, & very easy piano part apart from the ornaments).

Come to think of it I imagine that such a sparse texture
might be quite a challenge for adaptive tuning?

Also been trying out a few V7 - I progressions in both tunings,
and, not sure, but possibly the 8/9 feels a bit more like
C.P.E. Bach somehow. Gives crisper cadences somehow.

Could be interesting if you did one with both.

I'm happy for it to wander about quite a bit in pitch
so perhaps that means soft vertical springs? Or are
those the horizontal springs?

I remember a post about the springs, but can't find it
right now, and am a bit hazy about the details. I'll have
a look for it in the Yahoo archive I'm making.

If you've done some of them already, could be interesting
to compare!

I wonder, maybe I could sequence the CPE Bach by typing it
into NWC, or maybe even play it. My piano skills are also
rudimentary, especially when playing from music, but
this is a very easy piece to read. Just two lines for the piano
part. I'm sure it is originally for amateurs to play, both for
piano and flute parts (third register E can't be that high for
a baroque flute of the time I think, to judge by how often it is
used in flute music of the time).

Could be useful for practice if you didn't mind sequencing
a practice file for me - not for listening to for pleasure!

Thanks for the ideas about the adaptive tuning cue points.

Yes, maybe that could be quite a feasible way to do it.
I'll think it over some. (I've been mulling over another idea
which seemed promising at first, but then I realised it
would involve a twelve dimensional multiply threaded
sparse array, with the threads connecting "nearby nodes"
in 12-dim space; don't know if anyone has coded such a beast,
but it looked like it was going to be slow to add new entries
to it, and use too much memory to be of much use, anyway,
the simpler the construct, the better, if it works).

Sounds like the Chopin CD would be a nice one to get.

Actually was rather interested in that one from your review
of it. I'd like to order one of Ed Foote's CDs and hear what
he is doing!

Robert