Yahoo Tuning Groups Ultimate Backup tuning Re : [tuning] Re: Intonation resuming...in french

Joe Pehrson:

> [I think I'm getting most of this, but if I am making a mistake
> perhaps Wim Hoogewerf or some other fluent speakers can correct
> me... :) ]

My pleasure, Joe. Please remind I'm a native speaker neither in French, nor
in English. Nothing may be used against me! ":) :) :)"

'Latch':
>> Alors vraiment je m'embrouille totalement avec tout ça
>> et je me demande constantement a quoi peut servir
>> cette imonde division car je suis desolé, mais soit on
>> joue juste, soit on joue faux ! On peut jouer faux de
>> pluseurs façons, ok-mais pourquoi on invente de plus
>> en plus des scales totalement absurdes et
>> insupportables ?! Ca devient une manie de diviser et
>> "creer" tout sorte de choses qui ne servent a rien!

"So really, I'm completely mixed up with all this and I'm permanently asking
myself to what may serve this disgusting division because I'm sorry, but
either one plays in tune, either one plays out of tune! there are different
ways to play out of tune, ok-but why one invents more and more completely
absurd and inbearable scales?! It becomes a mania to divise et "create" all
sort of things which do not serve anything!"
>
> [Mr. Dimitrov is here questioning the wisdom of creating scales that
> are so "out there" as the Miracle family, as contrasted with
> more "traditional" efforts]
>
> Well, admittedly, Latch, the Miracle family of scales is of
> an "experimental" sort. That doesn't mean, however, that there is no
> usefulness in them! These scales are more for "contemporary"
> or "experimental" music, not for playing the traditional classics!
> However, they are not just a "vanity" of scientists... real music can
> be made from them. In fact, I have just recently uploaded a new
> piece for trombone and electronics in the "blackjack" scale, which is
> a 21-tone subset of the Miracle 31-tone scale, "Canasta."
>
> "Blackjack" *is* practical, since 21 scale steps are really not so
> far from the size of steps that we are used to in "traditional" 12-
> tET.... we have, essentially, step sizes of 83 cents, the
> Miracle "whole tone" and a smaller step, 33 cents, which is the "semi-
> tone" but which is really so small that it is an "inflection" of the
> larger step.
>
> With contemporary synthesizers it is *very* easy to construct this
> scale and make electronic music for it. And, since the scale
> corresponds to 72-tET, a *very* established scale for notation in
> certain xenharmonic circles (mainly in Boston, but also other places)
> it is not difficult to get live instrumentalists to play it.
>
> In 72-tET, the performer only needs how to play regular 12-tET (let's
> hope they can do *that!*), quarter-tones and ONLY TWO new divisions,
> the 1/6 of a 12-tET whole tone and a 1/12 of a 12-tET whole tone.
>
> There are only *two* new intervals to learn! So the Miracle family,
> being a subset of 72-tET is relatively easy to notate and teach
> performers!
>
> So all of this is quite practical, and the result is scales that have
> *many* sonorities that are very close (within about 3 cents) to just
> intonation!
>
> Now, admittedly, the means of composing with these scales is
> different than some of our "usual" methods, and we can't use
> our "traditional" harmony. There are *new* harmonic rules for the
> Miracle family yet to be discovered. I've been exploring some of
> them by tracing common tones from a "blackjack lattice" or a visual
> projection of how all the pitches relate to one another.
>
> Now, truly, one is not going to play Bach or Mozart on "blackjack!"
> But that is not the intention, this is total for *new* explorations.
>
> However, I don't really believe because these directions are "non-
> traditional" that they are invalid or worthless! Some people are
> quite tired of 12-tET for new pieces, and that includes *variants* of
> it! We really are looking for new sounds to explore!
>
>
>> Et la Musique dans tout ça ? Qui la respecte, qui la
>> comprend ?

"And the Music in all this? Who is respecting it, who is understanding it?"
>
> [Latch is asking who is going to respect or understand this kind of
> music]
>
> Well, curiously enough, Latch, quite a bit of the music that I have
> been composing in "blackjack" sounds a little traditional in parts...
> although rather "strange." It makes sense this would be the case,
> since many of the sonorities are related to the sonorities of 12-tET
> which we have derived, although distorted, from the harmonic series!
>
> So this music, although "different" is not really unpleasant or "far
> out..." In fact, it allows me to infuse it with a kind
> of "romanticism" that, otherwise, I might find "old fashioned" or
> otherwise inappropriate!
>
>
>> Pourqoi des ingenieurs, des mathematiciens
>> et des professeurs avec tout autre specialité se
>> mettent a publier n'importe quoi dans domain qui leur
>> n'est pas de tout familier ? Par vanité, par snobisme
>> ?

"Why engineers, mathematicians and professors with a completely different
speciality start publishing whatsoever about a region which they're not at
all familiar to? Out of vanity, out of snobism?"
>
> [Well here Latch is sounding like our favorite "nutty professor." He
> says that all of this is mostly a "vanity" of scientists and
> mathematicians...]
>
> I believe, Latch, that most new inventions have been thought of this
> way... When somebody first stuck his head into a big microphone and
> shouted through a wire across the room, I'm sure this was considered
> a "vanity," not a "telephone!"
>
>
>> Je suis totalement revolté de point de vue musical !
>> Plus c'est compliqué la façon d'obtenir une
>> division-plus sa sonne faux :)) Zut, flute ect :))
>> C'est ça le progrés ?
>> Je ne sais pas si mon ideal devient comme une religion
>> pour moi, mais je crois de plus en plus en verifiant
>> ma decouverte que la justesse est unique et qu'elle
>> existe belle et bien :)
>> Si j'était écrivain j'aurais tenté d'écrire un
>> livre...comme celui de Mr Cordier ! Tout experience a
>> droit d'exister, mais sur une base de reference-un
>> demi-ton universel et definitif !

"I'm completely indignant from a musical point of view!
The more the way to obtain a division is complicated - the more it sounds
out of tune :)) Jee, aargh etc :))
Is this progress?
I don't know if my ideal becomes a religion for me, but I believe more and
more verifying my discovery that being in tune is unique and that it really
exists :)
If I was a writer, I would have tried to write a book... like the one from
Mr. Cordier! Every experience has a right to exist, but on a reference base
- a universal and definite half tone!"
>
> [Latch is explaining his system and also stating that, at some point,
> he will write a book about it]
>
> Essentially, Mr. Dimitrov, what you are trying to do is *entirely*
> different from the kinds of things I have been doing with the Miracle
> scales. Basically, you want a system to enhance *traditional* music,
> not create entirely new systems!
>
> That's just fine! There will be *lots* of uses for that... but, of
> course, it doesn't mean that other approaches to microtonality or
> xenharmonity are invalid!
>
>
>> Bientôt j'aurai des examples sonores a fournir dans
>> format mp3 ou mieux, dans format L3 si tu connais...
>> (voir le logiciel L3producer) C'est long a produire
>> cinquantaine echantillons de waves dans Cool Edit
>> multipistes, mais je veux aussi les integrer comme un
>> instrument dans ma carte son(AWE32) pour jouer en
>> temps reel ! Je sais qu'il y a possibilité de
>> correction avec pitch-bend, mais je ne suis pas
>> convencu pour l'exactitude car mes echantillons sont
>> produits avec millieme du hertz justes...
>> A bientôt et courage pour la traduction :) ) )

Very soon I'll have sound examples to supply in MP3 format or better, in L3
format if you know this... (see the L3 Producer software). It takes time to
produce about a fifty wave samples in CoolEdit multitrack, but I also want
to integrate them as an instrument in my soundcart (AWE32) to be played in
real time! I know there's a possibility to correct with pitch-bend, but I'm
not convinced for the exactitude because my samples are produced within
0.001 Hertz precise...
See you soon and good luck with the translation :)))
>>
>
> [Here Latch is saying that he hopes to make some mp3's of his work
> using Cool Edit, and questions the use of pitch bends through his
> sound card]
>
> I think the mp3's would be best, since lots of us can play them, and
> we would be interested in hearing what you are doing....
>
> It's true that pitch bends are somewhat limited in accuracy, although
> John deLaubenfels and Joe Monzo have *both* made adequate use of
> them... but maybe they were not going for the kind of precise effect
> you are looking for in your, essentially, development of regular 12-
> equal temperament...
>
> It is true that other synthesizers would be better. Graham Breed has
> a *very* accurate one... Kyma, Rayma (??) Anyway, it goes to, I
> believe, a fraction of a cent.. (??)
>
> However, it's rather costly...
>
> a bientot!
>
> __________ _________ _____
> Joseph Pehrson

I tried to listen to the Mozart files, but I couldn't open them. Normally
.WAV shouldn't give a problem.

--Wim Hoogewerf

🔗genewardsmith@juno.com

--- In tuning@y..., "Wim Hoogewerf" <wim.hoogewerf@f...> wrote:

> >> Pourqoi des ingenieurs, des mathematiciens
> >> et des professeurs avec tout autre specialité se
> >> mettent a publier n'importe quoi dans domain qui leur
> >> n'est pas de tout familier ? Par vanité, par snobisme
> >> ?

> "Why engineers, mathematicians and professors with a completely
different
> speciality start publishing whatsoever about a region which they're
not at
> all familiar to? Out of vanity, out of snobism?"

In defense of mathematicians, they really have done very little of
this. I'm working to bring everyone to the Dark Side myself, but the
fellow-laborers in that vineyard are mostly *not* mathematicians.

One could turn the question around, and ask why a wonderful composer
like Hindemith was not content to stick to what he knew, and instead
produced a bogus "proof" that only 12 notes to an octave were
possible? Sorry, but it aint so--my word as a mathematician.

> >> Je suis totalement revolté de point de vue musical !
> >> Plus c'est compliqué la façon d'obtenir une
> >> division-plus sa sonne faux :)) Zut, flute ect :))

> "I'm completely indignant from a musical point of view!
> The more the way to obtain a division is complicated - the more it
sounds
> out of tune :)) Jee, aargh etc :))

Actually, the more parts you chop an octave up into the easier it is
to sound in tune, if only because the octave now has more parts.

> >> Je ne sais pas si mon ideal devient comme une religion
> >> pour moi, mais je crois de plus en plus en verifiant
> >> ma decouverte que la justesse est unique et qu'elle
> >> existe belle et bien :)
> >> Si j'était écrivain j'aurais tenté d'écrire un
> >> livre...comme celui de Mr Cordier! Tout experience a
> >> droit d'exister, mais sur une base de reference-un
> >> demi-ton universel et definitif !

> Is this progress?
> I don't know if my ideal becomes a religion for me, but I believe
more and
> more verifying my discovery that being in tune is unique and that
it really
> exists :)
> If I was a writer, I would have tried to write a book... like the
one from
> Mr. Cordier! Every experience has a right to exist, but on a
reference base
> - a universal and definite half tone!"

Hindemith did this already. I suggest you take your own advice, stick
with what you know, and forget messing about trying to prove things.
That way, you won't need to worry about math professors telling you
the proof is bogus. :)

🔗Afmmjr@aol.com

🔗Latchezar Dimitrov <latchezar_d@yahoo.com>

Mille Merci, Wim !!!

Your traduction is EXCELLENT :)))
If you want I can include one pluggin for L3 reading,
or better- I will upload the original mp3 file into
files area !

Mon "anglais" est plus fort que moi ;)
Je voudrais essayer une piece ecrite pour "microtonal
use" car je suis curieux a savoir si ï¿½a peut sonner
differement dans mon UT qui peut ï¿½tre bien entendu non
seulement avec 12 tones mais avec n'importe combien
par octave ! On peut organiser bien non seulement la
justesse mais aussi le "out of tune" :)))

Bien amicalement

Latchezar

--- Wim Hoogewerf <wim.hoogewerf@fnac.net> a ï¿½critï¿½: >
Joe Pehrson:
>
> > [I think I'm getting most of this, but if I am
> making a mistake
> > perhaps Wim Hoogewerf or some other fluent
> speakers can correct
> > me... :) ]
>
> My pleasure, Joe. Please remind I'm a native speaker
> neither in French, nor
> in English. Nothing may be used against me! ":) :)
> :)"
>
> 'Latch':
> >> Alors vraiment je m'embrouille totalement avec
> tout ï¿½a
> >> et je me demande constantement a quoi peut servir
> >> cette imonde division car je suis desolï¿½, mais
> soit on
> >> joue juste, soit on joue faux ! On peut jouer
> faux de
> >> pluseurs faï¿½ons, ok-mais pourquoi on invente de
> plus
> >> en plus des scales totalement absurdes et
> >> insupportables ?! Ca devient une manie de diviser
> et
> >> "creer" tout sorte de choses qui ne servent a
> rien!
>
> "So really, I'm completely mixed up with all this
> and I'm permanently asking
> myself to what may serve this disgusting division
> because I'm sorry, but
> either one plays in tune, either one plays out of
> tune! there are different
> ways to play out of tune, ok-but why one invents
> more and more completely
> absurd and inbearable scales?! It becomes a mania to
> divise et "create" all
> sort of things which do not serve anything!"
> >
> > [Mr. Dimitrov is here questioning the wisdom of
> creating scales that
> > are so "out there" as the Miracle family, as
> contrasted with
> > more "traditional" efforts]
> >
> > Well, admittedly, Latch, the Miracle family of
> scales is of
> > an "experimental" sort. That doesn't mean,
> however, that there is no
> > usefulness in them! These scales are more for
> "contemporary"
> > or "experimental" music, not for playing the
> traditional classics!
> > However, they are not just a "vanity" of
> scientists... real music can
> > be made from them. In fact, I have just recently
> uploaded a new
> > piece for trombone and electronics in the
> "blackjack" scale, which is
> > a 21-tone subset of the Miracle 31-tone scale,
> "Canasta."
> >
> > "Blackjack" *is* practical, since 21 scale steps
> are really not so
> > far from the size of steps that we are used to in
> "traditional" 12-
> > tET.... we have, essentially, step sizes of 83
> cents, the
> > Miracle "whole tone" and a smaller step, 33 cents,
> which is the "semi-
> > tone" but which is really so small that it is an
> "inflection" of the
> > larger step.
> >
> > With contemporary synthesizers it is *very* easy
> to construct this
> > scale and make electronic music for it. And,
> since the scale
> > corresponds to 72-tET, a *very* established scale
> for notation in
> > certain xenharmonic circles (mainly in Boston, but
> also other places)
> > it is not difficult to get live instrumentalists
> to play it.
> >
> > In 72-tET, the performer only needs how to play
> regular 12-tET (let's
> > hope they can do *that!*), quarter-tones and ONLY
> TWO new divisions,
> > the 1/6 of a 12-tET whole tone and a 1/12 of a
> 12-tET whole tone.
> >
> > There are only *two* new intervals to learn! So
> the Miracle family,
> > being a subset of 72-tET is relatively easy to
> notate and teach
> > performers!
> >
> > So all of this is quite practical, and the result
> is scales that have
> > *many* sonorities that are very close (within
> about 3 cents) to just
> > intonation!
> >
> > Now, admittedly, the means of composing with these
> scales is
> > different than some of our "usual" methods, and we
> can't use
> > our "traditional" harmony. There are *new*
> harmonic rules for the
> > Miracle family yet to be discovered. I've been
> exploring some of
> > them by tracing common tones from a "blackjack
> lattice" or a visual
> > projection of how all the pitches relate to one
> another.
> >
> > Now, truly, one is not going to play Bach or
> Mozart on "blackjack!"
> > But that is not the intention, this is total for
> *new* explorations.
> >
> > However, I don't really believe because these
> directions are "non-
> > traditional" that they are invalid or worthless!
> Some people are
> > quite tired of 12-tET for new pieces, and that
> includes *variants* of
> > it! We really are looking for new sounds to
> explore!
> >
> >
> >> Et la Musique dans tout ï¿½a ? Qui la respecte, qui
> la
> >> comprend ?
>
> "And the Music in all this? Who is respecting it,
> who is understanding it?"
> >
> > [Latch is asking who is going to respect or
> understand this kind of
> > music]
> >
> > Well, curiously enough, Latch, quite a bit of the
> music that I have
> > been composing in "blackjack" sounds a little
> traditional in parts...
> > although rather "strange." It makes sense this
> would be the case,
> > since many of the sonorities are related to the
> sonorities of 12-tET
> > which we have derived, although distorted, from
> the harmonic series!
> >
> > So this music, although "different" is not really
> unpleasant or "far
> > out..." In fact, it allows me to infuse it with a
> kind
> > of "romanticism" that, otherwise, I might find
> "old fashioned" or
> > otherwise inappropriate!
> >
> >
> >> Pourqoi des ingenieurs, des mathematiciens
> >> et des professeurs avec tout autre specialitï¿½ se
> >> mettent a publier n'importe quoi dans domain qui
> leur
> >> n'est pas de tout familier ? Par vanitï¿½, par
> snobisme
> >> ?
>
> "Why engineers, mathematicians and professors with a
> completely different
> speciality start publishing whatsoever about a
> region which they're not at
> all familiar to? Out of vanity, out of snobism?"
> >
> > [Well here Latch is sounding like our favorite
> "nutty professor." He
> > says that all of this is mostly a "vanity" of
> scientists and
> > mathematicians...]
> >
> > I believe, Latch, that most new inventions have
> been thought of this
> > way... When somebody first stuck his head into a
> big microphone and
> > shouted through a wire across the room, I'm sure
> this was considered
> > a "vanity," not a "telephone!"
> >
> >
> >> Je suis totalement revoltï¿½ de point de vue
> musical !
> >> Plus c'est compliquï¿½ la faï¿½on d'obtenir une
> >> division-plus sa sonne faux :)) Zut, flute ect
> :))
> >> C'est ï¿½a le progrï¿½s ?
> >> Je ne sais pas si mon ideal devient comme une
> religion
> >> pour moi, mais je crois de plus en plus en
> verifiant
> >> ma decouverte que la justesse est unique et
> qu'elle
> >> existe belle et bien :)
> >> Si j'ï¿½tait ï¿½crivain j'aurais tentï¿½ d'ï¿½crire un
> >> livre...comme celui de Mr Cordier ! Tout
> experience a
> >> droit d'exister, mais sur une base de
> reference-un
> >> demi-ton universel et definitif !
>
> "I'm completely indignant from a musical point of
> view!
> The more the way to obtain a division is complicated
> - the more it sounds
> out of tune :)) Jee, aargh etc :))
> Is this progress?
> I don't know if my ideal becomes a religion for me,
> but I believe more and
> more verifying my discovery that being in tune is
> unique and that it really
> exists :)
> If I was a writer, I would have tried to write a
> book... like the one from
> Mr. Cordier! Every experience has a right to exist,
> but on a reference base
> - a universal and definite half tone!"
> >
> > [Latch is explaining his system and also stating
> that, at some point,
> > he will write a book about it]
> >
> > Essentially, Mr. Dimitrov, what you are trying to
> do is *entirely*
> > different from the kinds of things I have been
> doing with the Miracle
> > scales. Basically, you want a system to enhance
> *traditional* music,
> > not create entirely new systems!
> >
> > That's just fine! There will be *lots* of uses
> for that... but, of
> > course, it doesn't mean that other approaches to
> microtonality or
> > xenharmonity are invalid!
> >
> >
> >> Bientï¿½t j'aurai des examples sonores a fournir
> dans
> >> format mp3 ou mieux, dans format L3 si tu
> connais...
> >> (voir le logiciel L3producer) C'est long a
> produire
> >> cinquantaine echantillons de waves dans Cool Edit
> >> multipistes, mais je veux aussi les integrer
> comme un
> >> instrument dans ma carte son(AWE32) pour jouer en
> >> temps reel ! Je sais qu'il y a possibilitï¿½ de
> >> correction avec pitch-bend, mais je ne suis pas
> >> convencu pour l'exactitude car mes echantillons
> sont
> >> produits avec millieme du hertz justes...
> >> A bientï¿½t et courage pour la traduction :) ) )
>
> Very soon I'll have sound examples to supply in MP3
> format or better, in L3
> format if you know this... (see the L3 Producer
> software). It takes time to
> produce about a fifty wave samples in CoolEdit
> multitrack, but I also want
> to integrate them as an instrument in my soundcart
> (AWE32) to be played in
> real time! I know there's a possibility to correct
> with pitch-bend, but I'm
> not convinced for the exactitude because my samples
> are produced within
> 0.001 Hertz precise...
> See you soon and good luck with the translation :)))
> >>
> >
> > [Here Latch is saying that he hopes to make some
> mp3's of his work
> > using Cool Edit, and questions the use of pitch
> bends through his
> > sound card]
> >
> > I think the mp3's would be best, since lots of us
> can play them, and
> > we would be interested in hearing what you are
> doing....
> >
> > It's true that pitch bends are somewhat limited in
> accuracy, although
> > John deLaubenfels and Joe Monzo have *both* made
> adequate use of
> > them... but maybe they were not going for the kind
> of precise effect
> > you are looking for in your, essentially,
> development of regular 12-
> > equal temperament...
> >
> > It is true that other synthesizers would be
> better. Graham Breed has
> > a *very* accurate one... Kyma, Rayma (??)
> Anyway, it goes to, I
> > believe, a fraction of a cent.. (??)
> >
> > However, it's rather costly...
> >
> > a bientot!
> >
> > __________ _________ _____
> > Joseph Pehrson
>
> I tried to listen to the Mozart files, but I
> couldn't open them. Normally
> .WAV shouldn't give a problem.
>
> --Wim Hoogewerf
>

___________________________________________________________
Do You Yahoo!? -- Un e-mail gratuit @yahoo.fr !
Yahoo! Courrier : http://fr.mail.yahoo.com

🔗Latchezar Dimitrov <latchezar_d@yahoo.com>

Mille Merci, Wim !!!

Your traduction is EXCELLENT :)))
If you want I can include one pluggin for L3 reading,
or better- I will upload the original mp3 file into
files area !

Bien amicalement

Latchezar

___________________________________________________________
Do You Yahoo!? -- Un e-mail gratuit @yahoo.fr !
Yahoo! Courrier : http://fr.mail.yahoo.com

🔗jpehrson@rcn.com

🔗Latchezar Dimitrov <latchezar_d@yahoo.com>

Hello Mr Smith :)

I get all your proposals(with my bad english,sure...)
Only one remark if I can...
The difference of the opinions do the progres in the
world:))
I have listen(and play of course)more often Mozart
then Hindemith and personaly I prefer Mozart...
Dont you ?

Dimitrov

--- genewardsmith@juno.com a ï¿½critï¿½: > --- In
tuning@y..., "Wim Hoogewerf"
> <wim.hoogewerf@f...> wrote:
>
> > >> Pourqoi des ingenieurs, des mathematiciens
> > >> et des professeurs avec tout autre specialitï¿½
> se
> > >> mettent a publier n'importe quoi dans domain
> qui leur
> > >> n'est pas de tout familier ? Par vanitï¿½, par
> snobisme
> > >> ?
>
> > "Why engineers, mathematicians and professors with
> a completely
> different
> > speciality start publishing whatsoever about a
> region which they're
> not at
> > all familiar to? Out of vanity, out of snobism?"
>
> In defense of mathematicians, they really have done
> very little of
> this. I'm working to bring everyone to the Dark Side
> myself, but the
> fellow-laborers in that vineyard are mostly *not*
> mathematicians.
>
> One could turn the question around, and ask why a
> wonderful composer
> like Hindemith was not content to stick to what he
> knew, and instead
> produced a bogus "proof" that only 12 notes to an
> octave were
> possible? Sorry, but it aint so--my word as a
> mathematician.
>
> > >> Je suis totalement revoltï¿½ de point de vue
> musical !
> > >> Plus c'est compliquï¿½ la faï¿½on d'obtenir une
> > >> division-plus sa sonne faux :)) Zut, flute ect
> :))
>
> > "I'm completely indignant from a musical point of
> view!
> > The more the way to obtain a division is
> complicated - the more it
> sounds
> > out of tune :)) Jee, aargh etc :))
>
> Actually, the more parts you chop an octave up into
> the easier it is
> to sound in tune, if only because the octave now has
> more parts.
>
> > >> Je ne sais pas si mon ideal devient comme une
> religion
> > >> pour moi, mais je crois de plus en plus en
> verifiant
> > >> ma decouverte que la justesse est unique et
> qu'elle
> > >> existe belle et bien :)
> > >> Si j'ï¿½tait ï¿½crivain j'aurais tentï¿½ d'ï¿½crire un
> > >> livre...comme celui de Mr Cordier! Tout
> experience a
> > >> droit d'exister, mais sur une base de
> reference-un
> > >> demi-ton universel et definitif !
>
> > Is this progress?
> > I don't know if my ideal becomes a religion for
> me, but I believe
> more and
> > more verifying my discovery that being in tune is
> unique and that
> it really
> > exists :)
> > If I was a writer, I would have tried to write a
> book... like the
> one from
> > Mr. Cordier! Every experience has a right to
> exist, but on a
> reference base
> > - a universal and definite half tone!"
>
> Hindemith did this already. I suggest you take your
> own advice, stick
> with what you know, and forget messing about trying
> to prove things.
> That way, you won't need to worry about math
> professors telling you
> the proof is bogus. :)
>
>
>

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Re : [tuning] Re: Intonation resuming...in french

🔗Wim Hoogewerf <wim.hoogewerf@fnac.net>

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🔗Latchezar Dimitrov <latchezar_d@yahoo.com>

🔗Latchezar Dimitrov <latchezar_d@yahoo.com>

🔗jpehrson@rcn.com

🔗Latchezar Dimitrov <latchezar_d@yahoo.com>

🔗jpehrson@rcn.com

🔗Latchezar Dimitrov <latchezar_d@yahoo.com>

🔗jpehrson@rcn.com

🔗Latchezar Dimitrov <latchezar_d@yahoo.com>

🔗Latchezar Dimitrov <latchezar_d@yahoo.com>

🔗jpehrson@rcn.com

🔗Latchezar Dimitrov <latchezar_d@yahoo.com>

🔗Wim Hoogewerf <wim.hoogewerf@fnac.net>