19-tET

Patrick Ozzard-Low makes the following comment about 19-equal:

"19-ET, for example, has such strong harmonic implications that (to
my ear at least) it is difficult to compose effective atonal music
using sustaining instrument (very harmonic) timbres."

Dunno. It seemed to me *I* was capable of writing fairly "atonal"
music in 19-tET, and Neil Haverstick has written about *every* kind
of music in 19 equal...

Any comments??

JP

>"19-ET, for example, has such strong harmonic implications that (to
>my ear at least) it is difficult to compose effective atonal music
>using sustaining instrument (very harmonic) timbres."
>
>Dunno. It seemed to me *I* was capable of writing fairly "atonal"
>music in 19-tET, and Neil Haverstick has written about *every* kind
>of music in 19 equal...

I wouldn't think it would be any harder in this respect than
12-equal. And it depends on how you define "atonal". Are
CPS progressions in JI (ala Kraig Grady's suggestion) "atonal"?
There's no question 19-equal is capable of some great discordances.

-Carl

Carl!
tonal/atonal are as bad as terms as consonant/disonant. maybe CPS we could call Pantonal after
rudolf reti- whose books i have always like - despite what charles rosen has to say, I have gotten
way more out of the former as opposed to the later except by his playing! CPS would have to be
term more atonal than tonal in concept if one really HAS to make a choice :)

clumma wrote:

> I wouldn't think it would be any harder in this respect than
> 12-equal. And it depends on how you define "atonal". Are
> CPS progressions in JI (ala Kraig Grady's suggestion) "atonal"?
> There's no question 19-equal is capable of some great discordances.

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

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