source file: mills2.txt Date: Sat, 24 Aug 1996 18:15:59 -0700 Subject: The magnificient senventh... From: Kami Rousseau My playing experience taught me that jazz uses 4:5:6:7 chords most of the time. The 'flat' seventh really puts the chord its "cool" or "relaxed" context. Playing a 16/9 on top of a jazz chord just kills the feeling. But, some jazz uses 5-limit 7th chords, and classical music uses it all the time (almost by definition.) The 16/9 in the classical seventh chords (1 5/4 3/2 16/9 or sometimes 3/4 16/9 2/1 ) gives a very serious, or conventional, feel to the music. This afternoon, I realised how much this conventional effect, this expected effect is important. I was playing the last stranza of the aida march in the key of F major. Here it is in GWBasic notation with the chords on top : (is there a better name for this kind of notation?) I separated in bars, the first one starting on the second beat. Tempo : approx 60bpm for the quarternote Cm F7 G7 C G G.G8 >C.C8 EbD C id WAA17888; Sat, 24 Aug 1996 22:16:20 -0700 Date: Sat, 24 Aug 1996 22:16:20 -0700 Message-Id: <960825051025_71670.2576_HHB48-11@CompuServe.COM> Errors-To: madole@ella.mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu