Tom K. wrote:
> "Jack Campin - bogus address" <bogus@[EMAIL PROTECTED]
> wrote in message
> news:bogus-C752A8.01463005032008@[EMAIL PROTECTED]
>>>> Anyone ever encountered Hypertonality, or Hypotonality (as terms,
>>>> not as hyperactive key changes in a piece :-).
>>> Hypertonality means having quarter tone intervals, so there are 34
>>> tones per octave, tuned in just intonation. This scale is derived from
>>> generating a harmonic series on each successive pitch in a single
>>> harmonic series taken from a chosen fundamental.
>> That doesn't make any discernible sense. Quartertones...
In some quarters, the term "quartertone" is used to indicate what is
properly called "microtone". A reason might be that one at first
experimented with true 12-TE quartertones, that is, 24-ET, but one
discovered pretty soon that is not correct.
I think "fractiontone" is better, as it brings our the quality of not
falling close to intonations of the standard diatonic scale.
>>... are incompatible
>> with both 34 tones to the octave and with just intonation.
>>
>> I suspect you've been taking Wikipedia seriously. Mistake.
> And confusing Penderecki with Chris Rainier as well.
>
> http://www.chrisrainier.poddle.info/wordpress/?page_id=9
34-ET is in fact a god approximation of the intervals 3/2 and 5/4, but
not 7/4, and the interval 5/4 does not fall ona an even key, producing
major seconds of different sizes. And the page says the idea is to
approximate Just.
So 31-ET is better for approximating Just: The intervals 3/2, 5/4, and
not 7/4 are fairly well approximated, and 5/4 falls on an even key. SO
playing is normal, if one just does not apply 12-ET enharmonic
equivalence.
If one wants to approximate the intervals above well in Juts, and accept
different sizes of the major seconds, then 53- and 72-ET are better.
Hans Aberg
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