source file: m1413.txt Date: Tue, 12 May 1998 09:23:38 -0500 (CDT) Subject: Re: TUNING digest 1404 From: Paul Hahn On Mon, 11 May 1998, Bill Alves wrote: > > To me, the essential things are > > that there are 12 pitch/interval classes and no wolves; if those two > > conditions are met (that pretty much describes the circulating > > temperaments that were used increasingly throughout the Baroque) I'd > > be willing to call it some form of 12TET. [snip] > > So, if your point is that a composer will write the same music whether the > temperament is 12TET or 12TET-like, I would have to add the above criterion > (symmetrical distribution of dissonance) to your two conditions on the > definition of 12TET-like. No, that's not quite my point. My point is that unequal circulating temperaments, even with key color, are so close to 12TET compared to other stuff that I consider them still part of the whole process of exploring the possibilities of the number 12. If you think of a tree diagram: -+-Just Intonation | +-Open (meantone) temperaments | +-Closed (circulating) temperaments | +-with 12 pitch classes | | | +-unequal with key color | | | +-Unequal with little or no key color | | | +-absolutely equal | +-with 19 pitch classes | +-with 31 pitch classes | etcetera . . . I don't consider meantone very 12-ish because the wolves make some intervals and triads unusable, so instead of 12 usable triads there are really only 8 (okay, 24 and 16, but you know what I mean)--and even if you add more notes you still can't make the enharmonic modulations, because the circle doesn't close. Paul Erlich has mentioned that he's been messing with a "well-temperament" variation in his 22TET work, but I doubt he considers it significantly de-22-ated. (-ized?) This is _really_ splitting hairs. Agree or disagree as you will. --pH http://library.wustl.edu/~manynote O /\ "Churchill? Can he run a hundred balls?" -\-\-- o NOTE: dehyphenate node to remove spamblock. <*>