my comments on Barbershop

>I wrote,
>
>>>I see Barbershop more as an extended diatonic style where the small
>amounts of >>"bending" required to get from Pythagorean to 7-limit JI
>harmonies are too >>small to constitute a perceptually distinct pitch set
>(it's Gregg's melodic >>limen idea again, but we're talking differences no
>larger than a septimal >>comma, or 27 cents, here, which carefully
>performed can pass unnoticed in
>>>melody).
>
>Carl replied in e-mail
>
>>
>>Barbershopers sing exact 7-limit pitches, and lots of 'em. Are you saying
>that >the 7-limit doesn't really constitute enough difference from the
>'diatonic >style' to grant it its own pitch set?
>
>and later Carl wrote
>
>}...In retrospect, I think I see where you're coming from. You're interested
>}in a new scale, and the non-diatonic music that can be made with it.
>}Barbershop is diatonic music with 7-limit harmony stuck on. You want to see
>}the resources of a new 7-limit scale used for both melody and harmony, just
>}like the diatonic scale was so successfully used in classical music. This
>}is a cool goal.
>
>The 7-limit harmony in barbershop is not merely "stuck on" to the diatonic
>scale; it consists of dominant seventh chords which are diatonic in function
>and origin, and the 27-cent adjustments required to achieve JI are not large
>enough to disturb the essential diatonicity of the music.
>
>As for the pitch sets being different for melody and harmony, don't tell me
>that the sevenths of these dominant seventh chords never occur in the melody!


SMTPOriginator: tuning@eartha.mills.edu
From: "Paul H. Erlich"
Subject: RE: What do you play?
PostedDate: 06-01-98 21:18:28
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