Re: [tuning] Re: sonance modulation & controllers

> No, you're saying that I'd need to calculate two sets of
> tunings for the piece, one maximally consonant and the other
> maximally dissonant, and the pedal would slide along that
> line, yes? Very interesting!

Yes, this one. These extremes to start with. Course
there's also nondissonant nonconsonant regions and such
so eventually the composer could select any regions of
sonance they want, nonlinear mapping curves, etc
whatever. Could go hog wild with options but I'd say
keep it simple to start with and seems that this would
not be a hard core tweak to your program, but could be
handled without too much trouble.

- Jeff

[I wrote:]
>>No, you're saying that I'd need to calculate two sets of
>>tunings for the piece, one maximally consonant and the other
>>maximally dissonant, and the pedal would slide along that
>>line, yes? Very interesting!

[Jeff Scott:]
>Yes, this one. These extremes to start with. Course
>there's also nondissonant nonconsonant regions and such
>so eventually the composer could select any regions of
>sonance they want, nonlinear mapping curves, etc
>whatever. Could go hog wild with options but I'd say
>keep it simple to start with and seems that this would
>not be a hard core tweak to your program, but could be
>handled without too much trouble.

Hmmm, I realize I still don't have a clear picture of what you're
proposing. Consider a C-E-G chord: I will tend to bring the E down
by 14 cents and the G up by 2 cents, to achieve JI ratios. This would
be the tuning actually achieved when the foot-pedal is in some position
(center?). Now suppose the foot pedal is moved away from its consonant
spot: which way does the tuning move? A chord tuned consonantly has
"pain" at a minimum, and moving any interval in either direction tends
toward dissonance.

If the consonant solution is represented by the foot-pedal halfway down,
then it's easy to imagine that moving it one way will produce the
opposite result to moving it the other way; that's fine. But: we have
a lot of intervals in the chord (6 if 4 notes, 10 if 5 notes, etc.),
and they _all_ have to be modified as a result of a single input from
the foot-pedal. How do we pick which notes move up and which down, as
a result of moving the pedal down? Even for a triad, the C-E-G above,
this doesn't seem clear to me.

Even the question of a consistent tuning with intervals at maximum
dissonance doesn't have an actual solution, in the general case, that
makes _all_ the intervals of a chord maximally dissonant, does it?

Am I being clear? Am I missing something?

JdL