source file: mills2.txt Date: Sun, 9 Mar 1997 16:33:48 -0800 Subject: Dominant 7th chord 4:5:6:7:8? From: rtomes@kcbbs.gen.nz (Ray Tomes) Andrew Milne wrote: >If the 7th in a dominant 7th chord is tuned to 7/4, then it loses its >dissonance and instability. Indeed such a chord can function as a tonic >(as it does, quite exceptionally for the time, in Chopin's 22nd >Prelude). Even if perfectly tuned, the 4:5:6:7:8 chord is more tense than the 4:5:6:8 chord. Certainly it is still more so if the 7 is something else, as you say. I acknowledge that sometimes composers want "out of tune" chords for effect. These are not good reasons to deny ourselves the possibility of the 4:5:6:7:8 chord however and I like the idea of it being available. -- Ray Tomes -- rtomes@kcbbs.gen.nz -- Harmonics Theory -- http://www.kcbbs.gen.nz/users/rtomes/rt-home.htm Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Mon, 10 Mar 1997 01:35 +0100 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA10589; Mon, 10 Mar 1997 01:35:35 +0100 Received: from ella.mills.edu by ns (smtpxd); id XA10697 Received: from by ella.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) id QAA14395; Sun, 9 Mar 1997 16:34:08 -0800 Date: Sun, 9 Mar 1997 16:34:08 -0800 Message-Id: <336e5402.805278802@kcbbs.gen.nz> Errors-To: madole@mills.edu Reply-To: tuning@ella.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@ella.mills.edu