source file: mills3.txt Date: Sat, 20 Dec 1997 06:27:41 +0100 Subject: Re: Re G. Gibson in TD1265 and on the sensitivity of intervals to mistuning From: mr88cet@texas.net (Gary Morrison) >>}In the more usual timbres at least, the 7:6 interval beats too much to >>}be consonant, affected as it is by the unison. Speaking for my own experience, I don't concur with that whatsoever. I don't find 7:6 to be unpleasant or beating at all. (And I certainly have a lot of experience with 7:6, since my current main microtonal fascination approximates it well, and uses it as one of several basic building blocks). In comparison to 6:5, I find that 7:6 is no less discordant, but it is certainly darker in character, and has a certain "zap" sensation in place of 6:5's sweetness. Now Gregg spoke earlier about splitting a fifth in the same sense that an interval and its inversion split an octave. He seemed to suggest that if you split up a consonant interval such that one of the two intervals is discordant, that the other must be discordant. I think that that's a risky overgeneralization. For example, I find 7:6 to be much less discordant than 9:7, and I personally think that 8:7 sounds about as "good" ("consonant" if you'd like) as anybody could expect a second to sound. That being said, I personally think that, although "dissonant" may be a livable choice of adjectives to describe 9:7, two that describe it better to my ears are "shocking" and "startling". And also related to septimals, I don't find 7:4 to be even slightly discordant. I have described it over the list as like "a fifth with an attitude". Now I freely acknowledge that that's a self-contradictory description because of the obvious fact that 7:4 isn't ANY kind of fifth (except maybe a way-sharp augmented one!). Still to my ears 7:4's auditory effect has some curious similarities with 3:2's. I don't know if I can put those similarities into words any better than this: As with 3:2 or 2:1, 7:4 fuses pitches very tightly, and its lack of the sweetness of major and minor thirds and sixths makes it seem quasi-perfect. But unlike any perfect interval, it has a flourescent "zap" much like 7:6's, which is the "attitude" part. SMTPOriginator: tuning@eartha.mills.edu From: mr88cet@texas.net (Gary Morrison) Subject: Re: 19 tone/20 tone PostedDate: 20-12-97 06:28:22 SendTo: CN=coul1358/OU=AT/O=EZH ReplyTo: tuning@eartha.mills.edu $MessageStorage: 0 $UpdatedBy: CN=notesrv2/OU=Server/O=EZH,CN=coul1358/OU=AT/O=EZH,CN=Manuel op de Coul/OU=AT/O=EZH RouteServers: CN=notesrv2/OU=Server/O=EZH,CN=notesrv1/OU=Server/O=EZH RouteTimes: 20-12-97 06:26:13-20-12-97 06:26:14,20-12-97 06:25:49-20-12-97 06:25:49 DeliveredDate: 20-12-97 06:25:49 Categories: $Revisions: Received: from ns.ezh.nl ([137.174.112.59]) by notesrv2.ezh.nl (Lotus SMTP MTA SMTP v4.6 (462.2 9-3-1997)) with SMTP id C1256573.001DDC14; Sat, 20 Dec 1997 06:28:05 +0100 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA22489; Sat, 20 Dec 1997 06:28:22 +0100 Date: Sat, 20 Dec 1997 06:28:22 +0100 Received: from ella.mills.edu by ns (smtpxd); id XA22462 Received: (qmail 13513 invoked from network); 19 Dec 1997 21:27:43 -0800 Received: from localhost (HELO ella.mills.edu) (127.0.0.1) by localhost with SMTP; 19 Dec 1997 21:27:43 -0800 Message-Id: Errors-To: madole@mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu