RE: Metronome "Scale"
Take the first 17 numbers:
40 42 44 46 48 50 52 54 56 58 60 63 66 69 72 76 80
Notice that they count by twos from 40 to 60. Then by threes. Since 60-80 can't
be divided evenly by threes he (Maelzel?) fudged by counting fours at the end.
Here is a "logorhythmic" scale I found on the web:
40.00 41.77 43.62 45.55 47.57 49.67 51.87 54.17
56.57 59.07 61.69 64.42 67.27 70.25 73.36 76.61 80.00
But forget that crazy stuff.
Go back to the first set (the first two "octaves" of our tempered metronome
scale):
40 42 44 46 48 50 52 54 56 58 60 63 66 69 72 76 80
Then double each number:
80 84 88 92 96 100 104 108 112 116 120 126 132 138 144 152 160
then double a few of those:
160 168 176 184 192 200 208
There you have the settings of the metronome. All are multiples or factors of
other numbers in the scale. The number of settings that are multiples of 6 is
simply coincident, I believe. I think Hans is correct to point out the inherent
proportional relationships between tempi. (There is an idea out there that all
the movements of some works by Mozart are in tempos that are related to a
common pulse-"takt")
The beautiful thing is you can practice any tempo 104 and slower by setting the
metronome to double speed for the subdivisions.
I am surprised that a bunch of horn players, who live and die by their
understanding of the harmonic series, failed to see such similar
proportionalities in the metronomic scale.
Steve
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