Re: [tuning] Re: Question on chords

While anyone can hear just about anything when listening to just about anythin,I thought of a simple way to treat this subject.

Let's say that the shoes are the fundamental (4th overtone), the pants are the third (5th harmonic), and the shirt constiutes the perfect fifth (3rd harmonic).

The 7th harmonic (also the seventh in the "chord")is like a hat on top of the head. Above that is "8" which begins a duplication of the root identity. Above that, there may need to be a resolving. However, before the 8 I see inertia in the sense that it does not move. There really is no modulation for the overtone series that I can see.

Now the 81/64 ditone (or major third) does in fact beat (14-16 times per second in the middle ranges)making it dissonant. However, the minor third making up the remaining interval before the 3/2 perfect fifth beats the same amount of times. This stabilizes the Pythagorean triad.

Johnny Reinhard

While anyone can hear just about anything when listening to just about anythin,I thought of a simple way to treat this subject.

Let's say that the shoes are the fundamental (4th overtone), the pants are the third (5th harmonic), and the shirt constiutes the perfect fifth (3rd harmonic).

The 7th harmonic (also the seventh in the "chord")is like a hat on top of the head. Above that is "8" which begins a duplication of the root identity. Above that, there may need to be a resolving. However, before the 8 I see inertia in the sense that it does not move. There really is no modulation for the overtone series that I can see.

Now the 81/64 ditone (or major third) does in fact beat (14-16 times per second in the middle ranges)making it dissonant. However, the minor third making up the remaining interval before the 3/2 perfect fifth beats the same amount of times. This stabilizes the Pythagorean triad.

Johnny Reinhard

Johnny Reinhard wrote,

>Now the 81/64 ditone (or major third) does in fact beat (14-16 times per
second in the >middle ranges)making it dissonant. However, the minor third
making up the remaining >interval before the 3/2 perfect fifth beats the
same amount of times. This stabilizes >the Pythagorean triad.

_Any_ triad would have this property, as long as the fifth is just!

I wrote,

>> _Any_ triad would have this property, as long as the fifth is just!

Johnny wrote,

>However, the beatings of the 81/64 are high enough (and yet not too high)
to
>blend into the gestalt of the Pythagorean thirds, and to some extent to the

>overall timbre. Slower beatings would be more egregious, noticeable and
>distracting.

>Johnny Reinhard

Is it really the particular _rate_ of beating that you like? Beat rate will
double every octave you go up, and halve every octave you go down . . .

Paul, it is not what I "like" but what might be inherent in the the 81/64
that allowed it to remain in practice for so long.

Consider, wouldn't there only be an octave and a half of range in the
Pythagorean men's voices? I suggest this. So, if 16 beats per second make
up thirds in a 3/2, then most other thirds (which will have smaller major
thirds) will have less of a frequency than 16?

Johnny Reinhard