31-tone equal melodic progression

Graham Breed wrote:
> So, the melody C-D-Dbb-Cx-Dbb-Cx-Dbb-D is the same as C-D-C-D-C-D-C-D?
> You don't hear the interval Dbb-Cx as a semitone?

This melody (if this can be called a melody, and not a purely
spoken-language progression) would indeed be heard, played in 31-tone
equal as a slightly out-of-tune C-D-C-D-C-D-C-D. The semitone between
Dbb and Cx would be heard as a semitone indeed, but you are assuming
that the listener would be able to hold in his mind two different tonal
centres through a long sequence of tonally unrelated pitches, which is
very dubious. To my own ears this sequence sounds simply like the tonal
progression C-D-C-D etc, but badly out of tune. Question: can you _sing_
this progression... accurately? If so, you are a true lusus natur?.


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From: Gregg Gibson
Subject: Re: septimal intervals
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Gregg Gibson wrote:

> This is a vast subject however, which can scarcely be treated here on
> the scale it deserves.

It's a very important subject, and one that deserves to be treated
on whatever scale it demands.

Actually, though, it's very simple. While you're tuned to 31 equal,
play Ab-C-Eb, then Ab-Eb-F# and Ab-C-F#. Tell me why one is
consonant and the others are not, in terms of what you hear. Then,
the discussion will probably end, because there's not much more that
can be said. I'm not accepting arguments based on the constituent
intervals, though.


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From: Gregg Gibson
Subject: Re: melodic limen
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