No, you made statements that I showed to be mistakes and now you have to stick with being right. All of this comes out of that and you figuring you don't need to read what I wrote. Anyone can read this, I did some work to show specifically how it [harmonically pure intervals at all times] isn't true, as a matter of fact. "at all times" meaning 'harmonies are all pure'. Right, doesn't happen.JumpingJackFlash wrote:jancivil wrote:You are arguing with yourself through a misconstruction of what I have said... I'm growing weary of you trying to hammer me with something really basic I've known for decades.
I think you'll find that you started it.
That's some moving the goalposts. "Just intonation is a system that calls for harmonically pure intervals at all times" Is your problem. I don't know where that comes from, it's a whopping error. There is no such thing as that in a 12 note JI, this is a known thing.JumpingJackFlash wrote:Just Intonation, that is a system that calls for harmonically pure intervals at all times, requires that notes have the flexibility to vary in pitch according to the needs of the harmony at any given moment, and thus is only possible with voices or on instruments with the capacity to make real-time adjustments as the music is being performed.
"Wow, I didn't realise that you were psychic!" Save your sarcasm, there is no mind reading. FFS.
You have said it twice and now a third sort of revision. It's there, I quoted you, you said only singers and certain string instruments could work in JI because of these adjustments. I happen to know that is just not true. You have to define a certain situation - which I have done! This is why I went into my experience, to found this IN PRACTICE - for it to be conditionally true. It is not true in and of itself. One can define an intonation and stick with it. It is more typical to have a fretless stringed inst OR A WIND inst to make adjustments, within a tonal context, but there is nothing about JI that means you have to be sliding around redefining pitch to harmony. If you did the work, you would disabuse yourself of this notion.
When you modulate, there are obvious issues. You said you have to retune for every new chord. No, that is just mistaken. I actually have to wonder if you're proceeding thinking people simply must adjust to conform with 12tET. There things that are imperfect to both. People adjust to better thirds doing ET; it doesn't mean that ET doesn't do what it does. You need to retune to get the change of 'key' or new tonic.
One can do this working with triadic harmony, totally, and not deviate. I showed how triads work; if you're going to require an E major triad within twelve tones in that JI with C = 1:1, we have a M3 in that particular JI that's flatter VIS A VIS C than 12tET's G#/Ab. BUT, it's a good result for E! I wonder if the respondents to your straw test will notice a C/Ab that's bad.
I have to disengage now, too much bullshit, and you won't bother to read what I actually am saying.