source file: mills2.txt Date: Thu, 13 Mar 1997 07:56:31 -0800 Subject: Re: 4:5:6:7:8 From: Joseph Downing I rarely post, but read avidly. I have concluded several large scale works that are perceived as very tonal in nature with a final chord with the following ratios: 1:2:3:4:5:6:7:8:9:10:11:12:16:24:32:48:64 or, in non-ratio terms, the first twelve partials and then the octave and fifth for two octaves. Interestingly enough, the chord is invariable heard as a BIG major triad, and usually only the people playing the seventh and eleventh partials are aware that they have to tune these notes a little differently, even though these notes are scored prominently. Joe Downing, in Syracuse Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Thu, 13 Mar 1997 16:59 +0100 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA09838; Thu, 13 Mar 1997 16:59:07 +0100 Received: from ella.mills.edu by ns (smtpxd); id XA09831 Received: from by ella.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) id HAA12888; Thu, 13 Mar 1997 07:57:23 -0800 Date: Thu, 13 Mar 1997 07:57:23 -0800 Message-Id: Errors-To: madole@mills.edu Reply-To: tuning@ella.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@ella.mills.edu