source file: mills2.txt Date: Mon, 9 Sep 1996 01:17:52 -0700 Subject: More on minor 7ths From: HFORTUIN@delphi.com A few more responses, suggestions re: minor sevenths: In JI contexts, do not use 16/9 with 4:5:6 chord or 6:5 minor triad-- use respectively 7/4 and 9/5 with these triads. I think some find 16/9 consonant in such contexts due more to its proximity to the 12-ET minor 7th than due to anything more profound. The ETs I use, 19, 22, 27, 31, have separate 7:4 and 9:5 representations, which I use as outlined above. As one might expect, I use the 7:4 atop minor triads with the 7:6 third. 4:5:6:7 can be treated in most respects as the dominant 7th in traditional harmony. The only difference I make is in the voice-leading around the 7:4--for example, I find unprepared 8:7 melodic motion ugly, but enjoy smaller-than-semitone voice-leading. As for its use in traditional diatonic contexts: Do NOT substitute the 7:4 over V for the diatonic scale degree 4--for melodic purposes, use 4:3, and for dominant seventh chords, use 7:4 over V. This practice will not bother anyone who makes use of the dominant seventh chord in the minor scale. Harmonically yours, Harold Fortuin Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Mon, 9 Sep 1996 15:11 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA28637; Mon, 9 Sep 1996 15:13:11 +0200 Received: from eartha.mills.edu by ns (smtpxd); id XA31032 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id GAA28899; Mon, 9 Sep 1996 06:13:01 -0700 Date: Mon, 9 Sep 1996 06:13:01 -0700 Message-Id: <9609091309.AA19130@arthaud.saclay.cea.fr> Errors-To: madole@ella.mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu