RE: The magnificient senventh...

In traditional harmony, the dominant seventh is a dissonance and must be
tuned as a dissonance. Otherwise, it doesn't want to resolve. In jazz in the
mixolydian mode, the dominant seventh chord is the tonic chord, and tuning
it more purely can only add to its tonicity. It can, however, make the chord
sound out of tune with respect to the scale. That's why I'm working with
22-tet, where many tetrads resembling the mixolydian seventh and the dorian
sixth come out of a coherent scale and gain "melodic justification" as well
as more harmonic purity than the 12-tet or other diatonic versions.


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