source file: mills2.txt Date: Mon, 26 Aug 1996 18:36:51 -0700 Subject: Re: TUNING digest 819 From: Lionel E Dotson tuning@eartha.mills.edu wrote: > > From: PAULE > To: tuning > Subject: RE: The magnificient senventh... > In traditional harmony, the dominant seventh is a dissonance and must be tuned as a dissonance. Otherwise, it doesn't want to resolve. Paule, please pardon me,but WHY is the dominant 7th a dissonance? To me a tuned 7th is very consonant. 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. Do you mean with respect to the tempered scale? I'm an "ear" singer-listener-whatever. Are you referring to a 7th whose tones are in frequency ratios of 4x:5x:6x:7x where x=some fundamental frequency? Or am I in over my head and should just go away(g)? Ed Dotson ldotson@sprynet.com 73757.1062@compuserve.com L.E.Dotson 7020 Bougainvillea Muncie,In. 47302 317-289-5889 Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Tue, 27 Aug 1996 16:36 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA00543; Tue, 27 Aug 1996 16:37:54 +0200 Received: from eartha.mills.edu by ns (smtpxd); id XA00456 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id HAA11910; Tue, 27 Aug 1996 07:37:26 -0700 Date: Tue, 27 Aug 1996 07:37:26 -0700 Message-Id: Errors-To: madole@ella.mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu