22-12 note tuning experiment

Hi Paul!

> The subject line ("beta dominance") refers to what?

Not much... bad title... just meant it was the second time I was doing
the experiment.

> Well, unfortunately the tritone is still exactly the same as in 12-tET, and
> the fifth is much worse (being already nearly perfect in 12-tET).

Right... the fifth is particularly bad in the 22-12... How many cents
is it again??

> But the
> other four intervals in the chord, 5:4, 6:5, 7:6, and 7:4, are all better
> than in 12-tET.
>

Yes... and the thirds really do make a difference here!

> That's not the mirror -- that one of the original dominant seventh chords I
> was talking about. The mirror is the half-diminished seventh, with the root,
> third, and seventh on one color, and the diminished fifth on another color.

I just tried this "mirror." I do notice a difference between the 22-12
and the 12t-ET. The 22-12 is smoother.

However, there is nowhere NEAR as much difference as between the
dominant seventh chord comparison...

____________ _____ ___ __
Joseph Pehrson

--- In tuning@egroups.com, Joseph Pehrson <josephpehrson@c...> wrote:

>
> I just tried this "mirror." I do notice a difference between the
22-12
> and the 12t-ET. The 22-12 is smoother.
>
> However, there is nowhere NEAR as much difference as between the
> dominant seventh chord comparison...
>
Then it must be that while 4:5:6:7 is clearly your ear's "target"
when
you hear a dominant seventh chord, 1/7:1/6:1/5:1/4 is not as clearly
your ear's "target" for the half-diminished seventh. For different
half-diminished chords in 22tET, approximating 5:6:7:9 rather than 1/
7:1/6:1/5:1/4, try ones where the root and diminished fifth are on
one
color and the minor third and minor seventh are on the other color.