temperaments: clear as mud? (repost previous bad snip)

[Richard Brekne]

Ron Koval wrote:

> Sorry to repost, everyone, but I reread my post and it wasn't clear what Ed
> wrote and what I wrote. (Which Richard responded to)
>
> iBecause, I think even though you are "playing" in C, the beat rates tell the
> sensitive person that you are in fact "sounding" in B.  I heard you use this
> explanation in Chicago, but couldn't figure out what was wrong with it 'till
> later.
>

Grin.. never been in Chicago... was it Reno perhaps ??

>
> I think it is ALL about beats, even if people don't have the vocabulary or
> the training to know what they are experiencing.  Not only the beats of the
> Major 3rd in a triad, but the beats of the minor third and the 5th, and the
> octave, if added.  If you graph the beat rates between these three intervals
> in a triad, they are NOT parallel lines, so the ratios change from key to
> key.  There are enough people that can hear key color in ET, that
> something's going on here.

Like I say... there is of course key colour in ET... its just a different puppy
then the kind of key colour we are talking about in HT... You say graphing the
lines of intervals does not yield straight lines, and you are correct...they
yield very nice accending or decending curves... the point being that they
change evenly (as in exponentialy) and in the same direction.  In HT's these
behave entirely differently. They move up and down and all around... and quite
on purpose as well.

I like your point about it being all about beats... one way or the other,
conciously or not, I suspect you are pretty much correct about that.

>
>
> Ron Koval
> Chicagoland
>
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--
Richard Brekne
RPT, N.P.T.F.
Bergen, Norway
mailto:rbrekne@broadpark.no