source file: mills2.txt
Date: Fri, 14 Mar 1997 02:29:39 -0800

Subject: RE: Dominant 7th 4-5-6-7-8 ? (Paul E)

From: Manuel.Op.de.Coul@ezh.nl (Manuel Op de Coul)

From: PAULE <ACADIAN/ACADIAN/PAULE%Acadian@mcimail.com>

Andrew Milne wrote,

>The stepwise resolution of the intervals making up the tritone in both
>these chords is, I believe, the *critical* factor which determines their
>resolution.

Yes! Yes! Yes! And diminished seventh chords are a way of getting two of 
these tritone resolutions happening at the same time! 4:5:6:7 chords will 
have to be part of a true 7-limit style where chords without 7:5 "tritones" 
sound incomplete (hopefully compostitional context can make this happen) and 
some other, more dissonant, interval takes on the role of the unstable, 
key-defining sonority. I have worked out the details of such a system in 
22-equal, which you will all be able to read about in Xenharmonikon 17.

 -Paul Erlich


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