barbershop chord

http://lumma.org/bones.mp3

A nice example of a 4:7:10:18 chord (performed by Joker's Wild).

-Carl

>http://lumma.org/bones.mp3

>A nice example of a 4:7:10:18 chord (performed by Joker's Wild).

I'm positive the voicing is a 2:5:7:9, but it might hit JI only for a brief
instant between all the sliding and slow near-semitone-wide vibratos.

>>http://lumma.org/bones.mp3
>>A nice example of a 4:7:10:18 chord (performed by Joker's Wild).
>
>I'm positive the voicing is a 2:5:7:9,

Listen again.

>but it might hit JI only for a brief instant between all the
>sliding and slow near-semitone-wide vibratos.

Maybe not that accurate even then, but enough to get periodicity
buzz. As for the sliding -- I love it!

-Carl

--- In tuning@egroups.com, Carl Lumma <CLUMMA@N...> wrote:
> >>http://lumma.org/bones.mp3
> >>A nice example of a 4:7:10:18 chord (performed by Joker's Wild).
> >
> >I'm positive the voicing is a 2:5:7:9,
>
> Listen again.

When I sing along with the major third, it's clearly lower than when
I sing along with the harmonic seventh. The top interval is clearly a
7:9 (ignoring the wavering).

[Carl L:]
>>>>http://lumma.org/bones.mp3
>>>>A nice example of a 4:7:10:18 chord (performed by Joker's Wild).

[Paul E:]
>>>I'm positive the voicing is a 2:5:7:9,

[Carl:]
>>Listen again.

[Paul:]
>When I sing along with the major third, it's clearly lower than when
>I sing along with the harmonic seventh. The top interval is clearly a
>7:9 (ignoring the wavering).

Carl, I'm pretty sure Paul is right that the top of this chord is the
7:9, Bb-D. I'm trying to run Spectrogram in a way that'll output some
actual numbers (these graphs are pretty but SO frustrating to quantify
from!); can somebody who's learned it help me find this feature?

Paul, I'm not sure why you stress the "wavering" so much; there is a
long stable singing of the chord in tune followed by some deliberate
stretching of the pitches of individual notes, one at a time.

[Carl:]
>As for the sliding -- I love it!

Agreed! Lovely stuff.

JdL

--- In tuning@egroups.com, "John A. deLaubenfels" <jdl@a...> wrote:

> Paul, I'm not sure why you stress the "wavering" so much; there is a
> long stable singing of the chord in tune followed by some
deliberate
> stretching of the pitches of individual notes, one at a time.

The only "long stable singing of the chord in tune" is without the
bass, so it's kust a 5:7:9 chord. Bohlen would be proud!

On 15 Oct 2000 tuning@egroups.com wrote:

> From: Carl Lumma <CLUMMA@NNI.COM>
> Subject: RE: barbershop chord
>
> >>http://lumma.org/bones.mp3
> >>A nice example of a 4:7:10:18 chord (performed by Joker's Wild).
> >
> >I'm positive the voicing is a 2:5:7:9,
>
> Listen again.

I just listened to this track, and I agree with whoever said 2:5:7:9 -- I
hear C-e-bflat-dd (definitely with the justly lowered 7th)

[I wrote:]
>>Paul, I'm not sure why you stress the "wavering" so much; there is a
>>long stable singing of the chord in tune followed by some deliberate
>>stretching of the pitches of individual notes, one at a time.

[Paul E:]
>The only "long stable singing of the chord in tune" is without the
>bass, so it's kust a 5:7:9 chord. Bohlen would be proud!

Not true. The chord locks into position with all four voices at about
13.1 seconds (sanity check: the entire .mp3 is 26.073 seconds long); it
holds for about 1 second, then the bass does drop out for another
second or so; then the bass returns and the upper voices stretch (the 9
stretches upward; the 5 downward; the 7 holds steady). That second of
time from about 13.1 to 14.1 gives a very solid lock on the chord, don't
you agree, Paul? I don't have any numbers yet, but I'm guessing the
voices are within around +/- 5 cents of just 7-limit. In between the
stretching exercises the chord returns to stable for periods of at least
1/2 second, clearly defined in pitch space.

(the 5:7:9 chord, which they thoughtfully give us for a second or so, IS
delicious, is it not?)

Who is Bohlen again, and what is his connection?

JdL

--- In tuning@egroups.com, "John A. deLaubenfels" <jdl@a...> wrote:
> Who is Bohlen again, and what is his connection?
Bohlen invented the non-octave equal temperament of 13 steps per 3:1,
which Pierce discovered independently. The basic "major chord" is
3:5:7, and its first inversion is 5:7:

>>>>A nice example of a 4:7:10:18 chord (performed by Joker's Wild).
>>>
>>>I'm positive the voicing is a 2:5:7:9,

D'oh! Everybody else is right, and I was wrong. I was using falsetto
to hit the 7, while Mark Green was not, causing me to think he was
singing an octave lower than he was.

-Carl