source file: mills2.txt Date: Fri, 14 Mar 1997 02:29:57 -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 Andrew M. wrote, >the augmented sixth chord (e.g. g - b - d - e#) . . . is >another chord that I think would be incorrectly represented by a 4-5-6-7 >tuning But Andrew, the augmented sixth chord IS represented almost exactly by 4:5:6:7 in meantone tuning. Do you therefore think meantone is not a good tuning for music with augmented sixth chords? Remember that it was the tuning in place when they arose. (I think it's a great way to make such a highly chromatic construct sound less jarring, although when I play around in meantone, I often go to the augmented sixth and don't resolve -- it's a nice bridge from 5-limit to 7-limit harmony.) -Paul E. Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Fri, 14 Mar 1997 11:32 +0100 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA15288; Fri, 14 Mar 1997 11:32:38 +0100 Received: from ella.mills.edu by ns (smtpxd); id XA15289 Received: from by ella.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) id CAA20469; Fri, 14 Mar 1997 02:30:17 -0800 Date: Fri, 14 Mar 1997 02:30:17 -0800 Message-Id: <009B13F332A3CD2D.7044@vbv40.ezh.nl> Errors-To: madole@mills.edu Reply-To: tuning@ella.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@ella.mills.edu