xenharmonic bridges in the 12edo "comma pump"

fans of the "comma pump" chord progression

I - vi - ii - V - I

as well as those who are trying (at least as hard
as I am) to understand my theories, will like this
updated definition:

"xenharmonic bridge"
http://www.ixpres.com/interval/dict/xenbridg.htm

-monz

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--- In tuning@y..., "monz" <joemonz@y...> wrote:

/tuning/topicId_33773.html#33773

>
> fans of the "comma pump" chord progression
>
> I - vi - ii - V - I
>
> as well as those who are trying (at least as hard
> as I am) to understand my theories, will like this
> updated definition:
>
> "xenharmonic bridge"
> http://www.ixpres.com/interval/dict/xenbridg.htm
>
>
>
> -monz
>

****Most probably I'm just not understanding the term, but I'm having
trouble relating the idea of a "bridge" to the concept of the "unison
vector."

It seems in Paul Erlich's system, one is actually "focusing" a scale
by *eliminating* certain pitches (using, apparently the Harmonic
Entropy idea) in favor of others.

To me that doesn't seem like any kind of "bridge." It's more
a "selection" process...

A *bridge* seems more like something one goes *across* and the
process of *getting there* is important.

I don't believe this is the case in the "Unison Vector" elimination
routine. I think the *arrival* is the significant aspect, the
*selection* is important, not the "getting there..."

Maybe I'm *all wet* about this, but I won't worry, since it's "water
under the bridge..." :)

??

Joe Pehrson