AW.: RE: RE: 11-limit, 31 tones, 9 hexads within 2.7c of just

In einer Nachricht vom 12/30/99 12:07:25 AM (MEZ) Mitteleurop�ische Zeit
schreibt PErlich@Acadian-Asset.com:

<< Following Wilson, we'll identify 11/10 and 10/9 as an
equivalent pair (and their inversions as another) so we are dealing with a
41-tone periodicity block, one of whose unison vectors is 100:99. Unlike the
19- and 31-tone periodicity blocks found so far, this 41-tone one will not
use 81:80 as a unison vector, as several 81:80 pairs appear in Partch's
scale. . . . >>

Wilson's mapping had 12/11 and 11/10 (and their inversions) sharing a key,
unison vector 121:120.

In einer Nachricht vom 12/30/99 9:40:38 PM (MEZ) Mitteleurop�ische Zeit
schreibt PErlich@Acadian-Asset.com:

<<
Where can one find these? Are they all 41 tones? Anyway, I think it telling
that Wilson settled on the middle one for Xenharmonikon. >>
#
These are the (unpublished) keyboard designs that Wilson sketched in the late
eighties and early nineties while waiting for a generalized keyboard to
emerge, long after the XH article. The mappings with Partch's scale are all
to 41 tones, except for the 13-limit tuning.