RE: threeness and more

Patrick Ozzard-Low wrote,

>But I'll assume you are assuming complex harmonic tones.

Right

>I would therefore ask Paul whether, when he does the experiment using
>timbres as different from each other as a french horn or an oboe or a
>guitar or cello, this gives differing results?

I think my point would be made with any of those timbres.

Daniel Wolf wrote,

>Erlich is right that you are not going to pick the 'threeness' out of .1
>cents stops between a moving and a fixed sine wave.

I was thinking complex tones.

>'Threeness' is going =
>to
>have to be heard contextually, that is, an 81/64 will be heard as a 3/2
>above a pitch understood, again contextually, to be 27/16 above a known
>tonic.

Yes, exactly. Contextually, not acoustically.