source file: mills3.txt Date: Sat, 13 Sep 1997 00:42:39 +0200 Subject: So Kind From: Peter.Blasser@oberlin.edu Thank you again John Chalmers. I really did not expect so much of a kind spirit. I guess microtonal people are the coolest. I think microtonality could have a very definite demand, if infused into what is termed pop music. I think that experimental high level compositions are very intersting, but I am surprised that no one really works with simple popular forms. The Kithara that I am making has a 12 strings arranged lyre fashion, i.e. spread apart over an open space, and one of its arms has the fretboard on it. This arm itself will have four or six strings. Of course, the body is modified from its original cradle kithara shape to a more assymetrical form in order to attain the proper angles and sonority. It looks more like (I believe) a sumerian harp, with arms pointing assymetrically. My major problem is, on the fretboard portion, how could I have the strings tuned to non-unison notes with close to harmoniai scales possible. Since a non-unison string would imply a different AP for that string, i.e. a 16/13 string using a 13/13 utonality, the fretboard would have to be modified somehow. Currently, the two possibilities I have are as follows: 1)Angle the frets. This would cause a serious "obliqueness" near the high notes. 2)Use the 4/3, 3/2 system you described earlier. This is actually pretty appealing, as AP tetrachords would be available. But, the scales if played on multiple strings would not be pure KS harmoniai. 3)Cut the frets into little pieces. I don't like this very much, just because of the aesthetics. Yeah, I'm doing Greek, and plan to be doing a harmoniai/tetrachord reading of Sappho and Alcaeus with a nice complex rhythm and bass behind it. See, this is not traditional, and not really esoteric, because I think a drum rhythm and funky bass would add what some pop people call "jive". But, it would still be microtonal. THanks a lot. Are there any college students or youngger in this group? +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ [Peter Blasser, Oberlin College Mailroom Box #277, Oberlin, Ohio ,. [Peter.Blasser@Oberlin.edu . . . . +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ SMTPOriginator: tuning@eartha.mills.edu From: DFinnamore@aol.com Subject: Re: TUNING digest 1176 PostedDate: 13-09-97 01:05:50 SendTo: CN=coul1358/OU=AT/O=EZH ReplyTo: tuning@eartha.mills.edu $UpdatedBy: CN=notesrv2/OU=Server/O=EZH,CN=coul1358/OU=AT/O=EZH,CN=Manuel op de Coul/OU=AT/O=EZH RouteServers: CN=notesrv2/OU=Server/O=EZH,CN=notesrv1/OU=Server/O=EZH RouteTimes: 15-09-97 10:14:08-15-09-97 10:14:10,15-09-97 10:13:28-15-09-97 10:13:28 DeliveredDate: 15-09-97 10:13:28 Categories: $Revisions: Received: from ns.ezh.nl by notesrv2.ezh.nl (Lotus SMTP MTA v1.1 (385.6 5-6-1997)) with SMTP id C1256510.00801781; Sat, 13 Sep 1997 01:05:39 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA32683; Sat, 13 Sep 1997 01:05:50 +0200 Date: Sat, 13 Sep 1997 01:05:50 +0200 Received: from ella.mills.edu by ns (smtpxd); id XA32699 Received: (qmail 7974 invoked from network); 12 Sep 1997 23:01:57 -0000 Received: from localhost (HELO ella.mills.edu) (127.0.0.1) by localhost with SMTP; 12 Sep 1997 23:01:57 -0000 Message-Id: <970912185139_434888412@emout03.mail.aol.com> Errors-To: madole@mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu