ishness

>>3=openess, 5=sweetness, 7=florescent lightingness
>>
>>and 15/8 to sound remarkably like its prime factorization would suggest
>
>how would that differ from what 6/5's prime factorization would suggest?

It seems to sound like a 5/4 diluted by 3-ness. Or a 3/2 spiked with
5ness. The 9/4 sounds like a 3/2 opened with 3ness. This whole deal seems
work best when there's a base 2 in the denominator.

For other types of ratios, the highest prime seems to dominate the
character, especially when it is on top; the 6/5 is difficult, but sounds
mildly 5-like to me. The 5/3 much more clearly 5ish. The 7/6 and 7/5 both
sound distinctly 7-like, the 12/7 and 10/7 less so. The 14/9 sounds more
7ish than 9 or 3ish to me, and the 9/7 is a tough one, but I think is
closer to 7 than 9 or 3.

11 sounds tropical-like, but only with a base 2 under can I hear it at all.
I should mention that with this stuff, I've not been tested. I've been
looking right at it and asking myself for a subjective description.

Carl

[Lumma:]
> 3=openess
> 5=sweetness
> 7=florescent lightingness
>
> and 15/8 to sound remarkably like its prime
> factorization would suggest

[Erlich:]
> how would that differ from what 6/5's prime
> factorization would suggest?

[Lumma:]
> It seems to sound like a 5/4 diluted by 3-ness.
> Or a 3/2 spiked with 5ness. The 9/4 sounds
> like a 3/2 opened with 3ness. This whole deal
> seems work best when there's a base 2 in the
> denominator.

This last sentence is intriguing.

Perhaps this only works when there is a numerary
nexus among the tones being compared? Perhaps
it has something to do with tonalness or harmonic
entropy?

Also without having been tested, I'd say that my
subjective experience is the same as Carl's.
I can agree pretty closely with the characterizations
he gives for relative prime-ness.

( As far as objective characterization, well, I'm not so
sure what "flourescent lightingness" or "tropicalness"
sound like - maybe we should ask the piano after
it's finished eating)

- Monzo
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