That tuning method I've been pitching

>What, for example, do you plan to do when two successive chords
>overlap slightly? One option, which in fact I do, is to seek out such
>overlaps, evaluate them for duration, and essentially throw away the
>very brief complex chords formed when they don't last longer than some
>preset time, which I typically set to 64 msec.

My procedure only tunes the five loudest notes at a given time; less if
there are less than five unique (after octave equivalence) pitches sounding.

>Do you plan to have any chords actually tuned to 12-tET?

Nope.

>What is your thought about considering the duration of chords? If I
>play a chord for a very brief length of time, should it have as much
>pull on tuning as a long sustained chord?

In my version, duration isn't a factor. But keep in mind it was designed
to be composed for, rather than to retune existing music (although you
might get many interesting results!). It is for the composer who wants to
work in extended JI, thinking of chord progressions as common-tone paths
through chord space (after Wilson), but who only has provisions for scoring
in 12-tone (say he uses MIDI).

>How will you handle drift? The ol' comma pump, repeated many times?

Ignores drift entirely. Repeated pump makes the music go flat.

>Will you consider the length of time between chords? Two conflicting
>chords back-to-back vs. separated by a long silence, say.

Silence is ignored.

>In your scheme, can chords, or the notes within them, interact when
>something else intervenes?

Just the five loudest notes at any given time. Notes may be retuned as
they sound, if that's the question.

>If there are three successive chords, and only the outer two have a C, say,
>will the two C's consider their relative tuning?

Nope. In a way, I'm actually after "strict" JI here. I call it adaptive
because it's getting at JI with only 12-pitches, moving the tonic is all
over the place. But I'm trying more to access high-limit pitch sets than I
am trying to get JI to conform to meantone logic.

>When you refer to "ticks" in a MIDI file, what does this mean? I'm
>aware of the MIDI time scheme, but if nothing is changing, there's
>nothing to focus on, yes?

Just the shortest unit of action in the MIDI-verse. Yes, many ticks will
not feature a change (although not as many as one might think, since event
loudness is sampled at each tick), but the thing is: ain't nothin' gettin'
past this baby.

-Carl

>> [John deLaubenfels, TD 497.3]
>> How will you handle drift? The ol' comma pump, repeated
>> many times?

> [Carl Lumma, TD 498.4]
> Ignores drift entirely. Repeated pump makes the music go flat.

Interesting how our definitions of 'pump' and 'flat'
mix metaphors here: Carl's JI technique causes 'pump' to
have exactly the opposite meaning originally intended
by John when he coined it.

-monz

Joseph L. Monzo Philadelphia monz@juno.com
http://www.ixpres.com/interval/monzo/homepage.html
|"...I had broken thru the lattice barrier..."|
| - Erv Wilson |
--------------------------------------------------

________________________________________________________________
YOU'RE PAYING TOO MUCH FOR THE INTERNET!
Juno now offers FREE Internet Access!
Try it today - there's no risk! For your FREE software, visit:
http://dl.www.juno.com/get/tagj.