Double vision

To list:

Please excuse my "double posts." They were decidedly not technical enough
to warrant such emphasis... However, I got a message that my mail had be
"returned since the mailbox is full..." so sent the posts again.

I wonder if anyone else has experienced this phenominon?... In any case I
will ignore these messages in the future until provenly unposted...

[BTW -- I was a bit intuitive. How did I somehow know that the WOLF was
composing in MEAN-tone?? Sounds very interesting and would enjoy hearing.
However, a stop in the Black Forest is, unfortunately, not on my Holiday
itinerary at the moment...]

Looking forward to some further explanation of pivot "homophones" in 12-tET
as contrasted/compared with the "homophones" of JI... How is modulation
effected?? Do the roots change and all the pitches (suggested by someone
regarding an "adaptive" JI program) upon modulation, or should the
"homophone" adjust?? I guess that would be a contradiction in terms...

Can there really be traditional "pivot modulation" or functional harmony in
"adaptive" Just Intonation?

Quite frankly, I have heard very little JI that has modulations in it. Am
I missing something?? Certain composers?? How can I hear this...(if it
exists)

Thanks, group!!

Joe Pehrson wrote,

>Looking forward to some further explanation of pivot "homophones" in 12-tET
>as contrasted/compared with the "homophones" of JI...

As usually considered, JI doesn't have any homophones. Unison vectors (very
small JI intervals) lead to exceptions, but then you're really using JI as a
temperament, and once you've crossed that line, distributing the unison
vectors out by tempering the consonances by fractions of the unison vectors
generally seems desirable.

>Can there really be traditional "pivot modulation" or functional harmony in
>"adaptive" Just Intonation?

Absolutely. Strict JI poses greater problems here.