back to list

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

🔗Manuel.Op.de.Coul@ezh.nl (Manuel Op de Coul)

3/14/1997 2:29:39 AM
From: PAULE

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


Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl
with SMTP-OpenVMS via TCP/IP; Fri, 14 Mar 1997 11:31 +0100
Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA15281; Fri, 14 Mar 1997 11:31:44 +0100
Received: from ella.mills.edu by ns (smtpxd); id XA15278
Received: from by ella.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
id CAA20435; Fri, 14 Mar 1997 02:29:57 -0800
Date: Fri, 14 Mar 1997 02:29:57 -0800
Message-Id: <009B13F30D9FE548.7044@vbv40.ezh.nl>
Errors-To: madole@mills.edu
Reply-To: tuning@ella.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@ella.mills.edu