<!doctype html public "-//W3C//DTD W3 HTML//EN"> <html><head><style type="text/css"></style><title>Re: Jim Coleman's temperaments was Pure.....</title></head><body> <div><font face="Arial">At 10:59 PM -0700 4/14/05, Joe Garrett wrote:</font></div> <blockquote type="cite" cite><font face="Arial">Bill,</font></blockquote> <blockquote type="cite" cite><font face="Arial">There have been several, but the one I was referring to was an article in the PTJ a few years back. All based on the perfect 5th, etc. IMO, pretty much the same thing. Just presented in a different way.</font></blockquote> <div><br></div> <div>That's probably the one he posted on this list in SEP/OCT of '97, in which the Comma of Pythagoras was put entirely in the central temperament octave, leaving a circle of pure 4ths and 5ths inside. That seriously beating octave was used to lay out the remaining octaves (although it would seem that proceeding outwards by pure 5ths would do the same thing). Whatever the 5th relationships (3:3 or 6:4) or the octaves (similar) were specified, this tuning scheme was certainly a lesson in the tolerance of new musical experiences. <g></div> <div><br></div> <div>But as Bernard points out, the semitone based on the 19th root of 3 is a horse of a different feather. Thanks from reminding us of Jim's pure 5ths temperament. It's nice for historical purposes to have it on the list again.</div> <div><br></div> <div>Bill Ballard RPT</div> <div>NH Chapter, P.T.G.<br> <br> "We mustn't underestimate our power of teamwork."<br>     ...........Bob Davis RPT, pianotech '97</div> <div>+++++++++++++++++++++</div> </body> </html>