source file: mills2.txt Date: Mon, 26 Aug 1996 09:25:39 -0700 Subject: RE: The magnificient senventh... From: PAULE In traditional harmony, the dominant seventh is a dissonance and must be tuned as a dissonance. Otherwise, it doesn't want to resolve. In jazz in the mixolydian mode, the dominant seventh chord is the tonic chord, and tuning it more purely can only add to its tonicity. It can, however, make the chord sound out of tune with respect to the scale. That's why I'm working with 22-tet, where many tetrads resembling the mixolydian seventh and the dorian sixth come out of a coherent scale and gain "melodic justification" as well as more harmonic purity than the 12-tet or other diatonic versions. Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Tue, 27 Aug 1996 10:32 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA32269; Tue, 27 Aug 1996 10:33:11 +0200 Received: from sun4nl.NL.net by ns (smtpxd); id XA32290 Received: from eartha.mills.edu by sun4nl.NL.net with SMTP id AA22074 (5.65b/CWI-3.3); Tue, 27 Aug 1996 03:36:59 +0200 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id SAA06986; Mon, 26 Aug 1996 18:36:51 -0700 Date: Mon, 26 Aug 1996 18:36:51 -0700 Message-Id: <32226D79.7FBC@sprynet.com> Errors-To: madole@ella.mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu