source file: mills2.txt Date: Thu, 5 Sep 1996 08:34:30 -0700 Subject: Re: Gary Morrison and 6:5 in 88CET From: PAULE Gary informs be that his example was in JI, not 88CET. He performed the following comparison: * Here's a traditional diminished triad (play 6:5 stack). * Here's another way to tune that - more or less - same chord (play 5:6:7 chord). Notice that it's less dischordant. And yet in some sense he perceives 5:6:7 is more discordant than 25:30:36 (the "6:5 stack"). Another example of this phenomenon is to compare 4:6:9 with 2:3:5. There is a sense in which the first chord is "purer" than the second. More examples: 8:10:12:15 vs. 4:5:6:7 16:20:24:36:45:54 vs. 4:5:6:9:11:13 I think I know exactly what you mean. When the smaller constituent intervals, which are the ones that contribute most to potential roughness, are all simple, the chord can't help being smooth in a certain sense. It's kind of the same reason 10:12:15 minor chords are more consonant than 6:7:9 chords (in a certain sense, of course). Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Thu, 5 Sep 1996 18:01 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA22465; Thu, 5 Sep 1996 18:02:23 +0200 Received: from eartha.mills.edu by ns (smtpxd); id XA22563 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id JAA11281; Thu, 5 Sep 1996 09:02:21 -0700 Date: Thu, 5 Sep 1996 09:02:21 -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