source file: mills2.txt
Date: Sun, 1 Sep 1996 05:25:14 -0700

Subject: Re: TUNING digest 823

From: linusliu@hk.super.net (Linus Liu)

I have done detailed analysis of the dominant seventh, German, French
and Italian sixths. I can fax my analysis to anyone interested.

Don't know much barbershop. But my choir tunes very good harmony with
church choral/folk/pop music.

Linus Liu.

>Paul, I think your elaboration is sufficient(g). I'm a barbershopper and 
>we don't tune with any *.tet scale that I'm aware of. We tune by ear to 
>achieve max consonance. I'm assuming that we tune 4:5:6:7 regardless of 
>the the Key note. The G-B-D-E#(F) chrd(sol-ti-re-fa) is one of the basic 
>chrds which define the style in it's return to C-E-G(do-mi-sol) via the 
>circle of 5ths. But you must at least go to D-F#-A-C(re-fi-la-do) and 
>return thru G-B-D-F to C-E-G  to define a simple bbshop progression. What 
>you call a "clash" is just returning home via the circle of 5ths and is 
>the essence of the bbshop style. Have you ever sung 4 part bbshop 
>harmony?
>
>Ed Dotson
>ldotson@sprynet.com
>73757.1062@compuserve.com


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