source file: mills2.txt Date: Wed, 20 Nov 1996 08:27:04 -0800 Subject: And I left out... From: Daniel Wolf <106232.3266@compuserve.com> Before we confirm tetrachords as the source of the diatonic scale, it is worthwhile to look closer at hexachords, which, unlike tetrachords, are able to sort out which Pythagorean collection is in play - the one with beginning with B (Bb) or the one going up to H (B natural) - thus keeping the augmented fourths/diminished fifths under control, along with an intonationally excellent solfege. Some English vocal ensembles (the Hilliard Consort, and Paul Hillier*s Theatre of Voices) have had real success in using hexachordal solfege to control the intonation and get the ficta right, making a convincing case for this historical performance practice. In contrast, I don*t see how the tetrachord is going to help with either intonation or ficta; there is insufficient overlap between the source pythagorean collection and the space of a perfect fourth. Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Wed, 20 Nov 1996 18:06 +0100 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA00924; Wed, 20 Nov 1996 18:07:32 +0100 Received: from eartha.mills.edu by ns (smtpxd); id XA00922 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id JAA05653; Wed, 20 Nov 1996 09:07:30 -0800 Date: Wed, 20 Nov 1996 09:07:30 -0800 Message-Id: Errors-To: madole@ella.mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu