RE: TUNING digest 1265

>
>In the more usual timbres at least, the 7:6 interval beats too much to
>be consonant, affected as it is by the unison. The 7:5 is obscured by
>the fifth and fourth. There is a slightly stronger case for the 7:4, but
>note that the first partial of the lower tone beats with the fundamental
>of the upper tone (8:7).

I may have a different definition of consonance and dissonance than
many, but I think the beauty of the 7-limit is its quality of what I
would describe as stretching consonance along a continuum from simple,
tight vibration patterns to complex and loose. Then there is a category
beyond a some point when the chord loses its identity and cohesion and
this I would call dissonance. But then this could just be my own little
way of seeing things.I suppose many of you use a mathematical definition
of consonance, comparing partials and such, that I wouldn't begin to
understand, but I trust my ears. The voicing of chords is also an
important factor; 7:5 sounds magnificent when placed in the octave above
a 4:5:6 chord, even a 4:5:6:7 chord, or an 8:9:10:12:14 chord.
Erik Nauman
>


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From: "Andrew L. Kaye"
Subject: Re: small intervals
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