Reply to Erik Nauman

> 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
> >
When I say that the septimals are dissonant, I do not mean to imply that
I hate them. They can be quite charming, when used as dissonances. The
only dissonances that I hate are those so near to the consonances that
they sound like, and are, mistuned consonances.

You might enjoy trying the close approximation to the 25:18 interval of
the 19-tone equal (the augmented fourth). This interval sounds intensely
laid-back and weirdly cool - even more than the 7:5.

No one can go far wrong by trusting his own ears, provided he lives in
fear of his audience.


SMTPOriginator: tuning@eartha.mills.edu
From: Gregg Gibson
Subject: Re: re: 31-tone equal melodic progression
PostedDate: 14-12-97 04:26:30
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