TUNING digest 823

tuning@eartha.mills.edu wrote:
> 7) RE: Re: TUNING digest 819
> by PAULE
> Topic No. 7
>
> Date: Fri, 30 Aug 96 09:23 EST
> From: PAULE
> To: tuning
> Subject: RE: Re: TUNING digest 819
> Message-ID: <91960830142319/0005695065PK3EM@MCIMAIL.COM>
>
> Ed,
>
> > Paul, the diatonic scale I use has many more than six consonant triads,
> >I don't understand....I tune according to a "root" not a scale. Please
> >elaborate on "dissonant".
>
> I don't know what you mean. Can you elaborate? This is what I mean. Take C major, a common diatonic scale. As usually defined, it has six
consonant triads: C, Dm, Em, F, G, Am. These triads are in fact consonant
when 12-, 19-, 31-tET, or meantone temperament is used to tune the scale.
In all of these cases, G B D F will be dissonant, and in meantone or
31-tET, a closer approximation to a 4:5:6:7 chord built on G can be found
than that which arises from the diatonic scale. That chord is notatod G B
D E#. However, this chord will not sound correct in C major, despite its
acoustical purity:
> the note "F" is expected, and an out-of-tune version is put in its place. In addition, the "clash" in G B D F is essential to the feeling
that it needs to resolve to the tonic chord, C E G.

Paul, I think your elaboration is sufficient(g). I'm a barbershopper and
we don't tune with any *.tet scale that I'm aware of. We tune by ear to
achieve max consonance. I'm assuming that we tune 4:5:6:7 regardless of
the the Key note. The G-B-D-E#(F) chrd(sol-ti-re-fa) is one of the basic
chrds which define the style in it's return to C-E-G(do-mi-sol) via the
circle of 5ths. But you must at least go to D-F#-A-C(re-fi-la-do) and
return thru G-B-D-F to C-E-G to define a simple bbshop progression. What
you call a "clash" is just returning home via the circle of 5ths and is
the essence of the bbshop style. Have you ever sung 4 part bbshop
harmony?

Ed Dotson
ldotson@sprynet.com
73757.1062@compuserve.com
L.E.Dotson
7020 Bougainvillea
Muncie,In. 47302
317-289-5889


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