source file: mills2.txt Date: Sat, 31 Aug 1996 09:27:50 -0700 Subject: Re: The magnificient senventh... From: Gary Morrison <71670.2576@compuserve.com> There's a spot in early in my off-the-shelf 88CET demo tape where I play the sound of a diminished triad implemented as 6:5 atop a 6:5, compared to a 7:6 atop a 6:5, the latter case of course being the upper three notes of a 4:5:6:7 dominant seventh chord. As soon as I play the 5:6:7, I say "you'll immediately hear that this chord isn't quite as tense as the first chord". What's curious is that as I rehear this periodically (to cut copies for my various victims), I occasionally have to rethink that sentence. Basically it's true, but in a different sense, it's actually more tense. It's actually more dissonant (however little that word may mean for a single isolated chord). I can't clearly isolate much less describe that sense in which it's actually more harmonically tense. Maybe somebody else out there may know what I mean and can describe it. I do find though that that particular sense reduces when I add the root of the 4:5:6:7 chord, so be sure to comment on it first with respect to the 5:6:7 without the 4. Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Sat, 31 Aug 1996 18:27 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA10936; Sat, 31 Aug 1996 18:28:47 +0200 Received: from eartha.mills.edu by ns (smtpxd); id XA10920 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id JAA28945; Sat, 31 Aug 1996 09:28:44 -0700 Date: Sat, 31 Aug 1996 09:28:44 -0700 Message-Id: <960831162425_71670.2576_HHB33-4@CompuServe.COM> Errors-To: madole@ella.mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu