Re: Eberhard's intonation...

["David Beardsley" <db@biink.com>]

----- Original Message ----- 
From: Paolo Valladolid 

>I did find these lines to be a disadvantage when 
>working with microtonal musicians.  The violinist 
>used a grease marker to indicate where the desired 
>pitches of his just-tuned scale were - he could erase 
>lines and draw new ones at will as he changed his 
>mind on what notes (or "ratios" in just intonation terms) 
>he wanted in his scale. 
>
>I think he wanted the lines there on his violin fingerboard 
>for the same reason some fretless bassists want lines - 
>to be able to hit a note at the desired pitch right on 
>cue, at the start point of a composition or after an 
>extended break.  This was very important to him, 
>because if he was off the desired pitch, he would 
>no longer be playing the 17-limit JI scale around 
>which the piece was built.

If a violinist is marking off his fretboard for the 17th harmonic,
he couldn't have been much of a violinist to start with.
The 17th harmonic so close to 12 tone equal temperament,
it ain't even funny. Just play a m2 and push it a hair sharp until
it resonates.

As for fret lines: I guess it's lot to ask musicans to listen, eh?


* David Beardsley
* microtonal guitar
* http://biink.com/db