Re: [tuning] Re: 72-tone Notation revisited.PE

Paul Erlich: if you look at the intro notes for joseph's piece, 'blackjack', it sure sounds like he's agreeing with the sims philosophy 100% -- wouldn't you agree?

JR: don't have the music and I'm not playing it. If so, it is different than his notation for 1/8th tones which I played "One Small Step..." There I went for accuracy. If Joe is favoring the Sims approach, then fine for him.

PE: i'm in favor of honesty. the testimonials of ted mook, julie werntz, and just about everyone who's taken joe maneri's class do not confirm your speculations here. my own personal experience is that the 72
intervals can be learned and assimilated with astounding expediency. you have the two *immediately audible* properties of *an immediate connection with familiar 12-equal and quartertones

JR: testimonials? I'm going by what I have heard performed. I know how messed up some musicians have been because they focused on the 72 and never learned certain basic just intervals. Pehaps, Paul, your Boston influence is undue.

PE: *an unmistakeable and unmatched ability to agree with ji, especially 'partchian' ji

JR: A false aid to hearing exact just intonation. This is not testimonial but real life experience. Contact Al Giusto for a different view than the Boston view.

PE: and then the huge conceptual simplification that comes because of the
incredibly direct 'bicycle chain' property we've discussed.

JR: This is BS for the player playing notes. It is more of an analyzing property for the theorist. :)

JR: yes. undoubtedly 72 takes a little extra training. but it's so *tangible*. quartertones, sixth-tones, and their common denominator, twelfth-tones. that's all. a small investment and then the student can sight read them all, playing with *total conviction*. i just
witnessed a performance last night of a number of these students -- bass, clarinet, saxophone, trombone. remember the conviction with which judith berkson sang? it's the rule, not the exception.

JR: Maybe there is a difference between students and professionals in this regard. For listeners as well. My point is not that one can read in 72 notation. My frustration is with putting it in the way of grasping wider concepts of intonation, concepts which the 72 notation inhibits.

PE: and besides, what's wrong with getting acquainted with the 'landmarks' before you go on to wander the whole territory with cents?

JR: Paul, those landmarks are the same landmarks in cents. If you distinguish between them than there may be something wrong. Every Good Boy Does Fine does not work as training wheels. Neither does 72 notation or any other, for an eventual cents tuning, though it will work for the music in its mileiu.

Please, it's better to have microtonal in a multiplicity of notations than to have less microtonal music. I only want to improve its transmission to performance outside of Boston, and for other tunings.

Best as always, Johnny

--- In tuning@y..., Afmmjr@a... wrote:

/tuning/topicId_35104.html#35104

> Paul Erlich: if you look at the intro notes for joseph's
piece, 'blackjack', it sure sounds like he's agreeing with the sims
philosophy 100% -- wouldn't you agree?
>
> JR: don't have the music and I'm not playing it.

****Hi Johnny!

I agree with virtually everything in your post except one thing. You
*do* have the music! I sent you an extra copy for your files!

jp