More on minor 7ths

A few more responses, suggestions re: minor sevenths:

In JI contexts, do not use 16/9 with 4:5:6 chord or 6:5 minor triad--
use respectively 7/4 and 9/5 with these triads. I think some find 16/9 consonant
in such contexts due more to its proximity to the 12-ET minor 7th than due to
anything more profound.

The ETs I use, 19, 22, 27, 31, have separate 7:4 and 9:5 representations, which
I use as outlined above. As one might expect, I use the 7:4 atop minor triads
with the 7:6 third.

4:5:6:7 can be treated in most respects as the dominant 7th in traditional
harmony. The only difference I make is in the voice-leading around the 7:4--for
example, I find unprepared 8:7 melodic motion ugly, but enjoy
smaller-than-semitone voice-leading.

As for its use in traditional diatonic contexts:

Do NOT substitute the 7:4 over V for the diatonic scale degree 4--for melodic
purposes, use 4:3, and for dominant seventh chords, use 7:4 over V. This
practice will not bother anyone who makes use of the dominant seventh chord in
the minor scale.

Harmonically yours,
Harold Fortuin

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