source file: mills3.txt
Date: Thu, 2 Oct 1997 13:05:38 +0200

Subject: TUNING digest 1195

From: Daniel Wolf <DJWOLF_MATERIAL@compuserve.com>

Let me cite myself and try to tie two threads together:

I wrote:

''I can well imagine that the decreasing costs of digital number crunchin=
g
will one day allow us to retune a given recording as we like, but I suppo=
se
that it will be introduced as a kind of enhancement in sound quality - ak=
in
to the noise reduction of my youth.''

If such a tuning enhancement program is indeed introduced, there is littl=
e
ground to expect that the functional basis of the harmonic analysis used
will be anything other than 12tet, so that vertical sonorities will be ma=
de
just while the fundamentals continue to be related by 12tet (ir)ratios. =


For those who chose, for whatever reasons (and there are distinct
advantages), to explore an equal temperament, a choice like Paul Erlich's=

for 22tet is well worth emulating. While providing a variety of harmonic
sonorities comparable to more familiar negative tunings, 22tet's function=
al
basis is distinct enough to force the composer or performer into very
different ways of navigating through the tonal materials. For example, th=
e
fact (in pythagorean notation) that 22tet's Fb is a more consonant major
third above C than  is E, invites alternative ways of integrating
progressions by chord fundamentals differing by thirds into the functiona=
l
harmonic vocabulary.

DJWOLF
Frankfurt


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