source file: mills2.txt Date: Mon, 14 Jul 1997 19:45:35 +0200 Subject: RE: Correlation of Partch Limit with LCM From: "Paul H. Erlich" Marion asks >>Would it be fair to say that the Partch's limit for a given ratio >> is derived by enforcing octave equivalence and then taking the >> largest odd number. > >Yes! > >> Assuming that might be true, the Partch limit of 3:4:5 would be >> taken by octave inverting it to 4:5:6 and then calling the limit >> 5? > >Sure, but why bother with octave inverting? the largest odd number in 3:4:5 >is still 5. > >Is a given Partch musical space defined by just one limit, or are >more required? As I explained in a recent post, for a chord there is the interval limit, the utonal limit, and the otonal limit. There is no need to rehash my discussion of the relationship between these concepts -- go >back and read the earlier posts if you need to. A "musical space", presumably >extending beyond one chord, is beyond the scope of this topic. Partch seems >to be comfortable with comma adjustments during modulation, so his total >compositional process is probably not well modeled with ratio space >considerations (let alone most other composers). Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Mon, 14 Jul 1997 19:48 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA29458; Mon, 14 Jul 1997 19:48:41 +0200 Date: Mon, 14 Jul 1997 19:48:41 +0200 Received: from ella.mills.edu by ns (smtpxd); id XA29414 Received: (qmail 20021 invoked from network); 14 Jul 1997 17:46:23 -0000 Received: from localhost (HELO ella.mills.edu) (127.0.0.1) by localhost with SMTP; 14 Jul 1997 17:46:23 -0000 Message-Id: Errors-To: madole@mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu