Re: Scale and Expressivity

I think Kraig is right about the Western approach to playing scales, but I
would hesitate to call it "sloppy." There is a connection for me between
sharpness (or flatness) of a note as a technique to effect a particular sense
of meaning.

When playing a leading tone there are a number of sizes possible to play and
each offers something else. Variations in vibrato, tone color (which is
choosing to emphasizing particular partials of the harmonic tone), even lack
of vibrato (which comes with other techniques for expression) are all
likewise devices choosed by the performer.

Hearing the exactitude of an interval in the mind, taught by all the schools
and all the teachers, allows reference for communication - between musicians
and among listeners. I bet that each cent added to a Major Seventh (16/9),
which is where a leading tone begins, brings a different dimension to the
meaning "intended" by the player. This is basic stuff.

An interesting world example of a people intending to avoid exact
reproduction of basic intervals that repeat in verses are the Sampi (Saami)
of northern Scandinavia and the Kola Peninsula (sometimes called Laplanders).
I did a transcription of a "joik" [real name] of a vocal duo and mapped out
the intended differences in particular sustained intervals that varied
perceptibly microtonally. The paper, which included an interview with one of
the performers, was published in Ear Magazine.

Johnny Reinhard
AFMM
Afmmjr.com

Johnny!
I was not speaking so much of intonation in the hands of a player like
yourself. That the western music tradition "allows" these variation is to its
benefit. This expressiveness has produced some of the most varied music
possible. In this case, the subconscious shifts built up over hundreds of years
makes 12 one of the best ETs. Any other might lack this accumulated experience.
The two 31 tone violinist in Holland might prove this wrong and this
"experience" might be easily transferred. In performance, despite the meantone
2nds, they would adjust to a 9/8 when the context called for it.
On the other hand this tolerance of variation has pushed others ears (even
some famous string players whose name need not be named) to wander so far off
that I for one lose track of where they are. This occurs frequently enough in
the concert halls or recordings that it's acceptance, I find bewildering. Even
in String Quartets, this same type of confusion occurs, possibly in part due to
an ambiguous nature in the passage itself.
Any string player who did not raise his leading tones would probably be
fired. And should be!

Afmmjr@aol.com wrote:

> From: Afmmjr@aol.com
>
> I think Kraig is right about the Western approach to playing scales, but I
> would hesitate to call it "sloppy." There is a connection for me between
> sharpness (or flatness) of a note as a technique to effect a particular sense
> of meaning.
>
> When playing a leading tone there are a number of sizes possible to play and
> each offers something else. Variations in vibrato, tone color (which is
> choosing to emphasizing particular partials of the harmonic tone), even lack
> of vibrato (which comes with other techniques for expression) are all
> likewise devices choosed by the performer.
>
> Hearing the exactitude of an interval in the mind, taught by all the schools
> and all the teachers, allows reference for communication - between musicians
> and among listeners. I bet that each cent added to a Major Seventh (16/9),
> which is where a leading tone begins, brings a different dimension to the
> meaning "intended" by the player. This is basic stuff.
>
> An interesting world example of a people intending to avoid exact
> reproduction of basic intervals that repeat in verses are the Sampi (Saami)
> of northern Scandinavia and the Kola Peninsula (sometimes called Laplanders).
> I did a transcription of a "joik" [real name] of a vocal duo and mapped out
> the intended differences in particular sustained intervals that varied
> perceptibly microtonally. The paper, which included an interview with one of
> the performers, was published in Ear Magazine.
>
> Johnny Reinhard
> AFMM
> Afmmjr.com
>
>

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

Johnny Reinhard wrote,

>I bet that each cent added to a Major Seventh (16/9),
>which is where a leading tone begins, brings a different dimension to the
>meaning "intended" by the player. This is basic stuff.

16/9 is a minor seventh; perhaps you mean 15/8? That's 1088 cents. You're
saying that's where the leading tone _begins_. So 1074 cents is not a
leading tone? That would rule out 19-tET or 1/3-comma meantone for playing
tonal music.

Paul asks an interesting question...should a 19-ET "major seventh" be raised
as in 12TET tradition. Often when playing in a meantone tuning, I don't
raise the leading tone. For example, the leading tone is larger in 1/4 comma
meantone...and larger still in other temperaments.

My comments are based on an enormous tradition. My experiences in 19TET
don't seem to suggest sharpenings of the Major Seventh, perhaps to accentuate
its special mood and so that it harmonizes more. When I play meantone I do
not raise the major seventh.

Johnny Reinhard
AFMM