Minors chords one example

This example is the n�37 of violin studies of O. SEVCIK, Opus 2 part 5.

When the note is "A", it's a whole string, when it's written "a" the
note is made by a finger.

Made the email in FULL SCREAN for a good reading...

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***First part :
chord number : 1 2 3 4 5 6 7 8 9 10 11
12 13
A string - b b c b A A d c b A e
#d e
D string - D e e D #f D D D D e g
#f e
G string - G G G G D c b a G c b
b G

Tonality : G major---------------------------------------- E minor
---------
degree I (VI) IV I V V I V I IV I
V I

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***Second part :
chord number : 14 15 16 17 18 19 20 21 22 23 24
25 26 27 28
E string - g #f b a g #f #g a #f a g
e g #f g
A string - A A d d A A d #c A c b
c b A b
D string - e D g #f e D e a D #d e
a D D D
(G
string)-
G

Tonality : D major ---------------------- A major ------E minor
------- G major ----
Degree V I IV I V I V I IV V I
IV I V I

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I remember you that I try to play just intonation on my violin with the
help of combination tones. Then I try to do those chords with the
following intonation :

Major chords ("4-5-6") :
Chords numbers 1, 3, 4, 5, 7, 9, 15, 16, 17, 19, 21, 22, 26, 27 and 28.

Dominant chords ("4-5-6-7")
n�6 ("7-8-12")
n�8 ("3-4-7")
n�14 ("3-4-7")
n�18 ("3-4-7")
n�20 ("4-7-10")

Minor chords ("16-19-24")
n�10 ("19-24-32")
n�11 ("12-19-32")
n�24 ("8-12-19")
n�25 ("16-19-24")

Chords with difficulties :
n�2 : for me it isn't a real minor chord, just a "passing chord". I
think it's better that both b and both G are really equal, then this
chord is rather a "10-12-15" (here : "6-10-15").

n�13 : it's really a minor chord (then "16-19-24") but on the violin we
must use G string, then it's a "pythagorean chord" "27-32-54" (here :
"32-54-108"... ;-) yes it's possible to play it because of the 3 fifth
of a violin! ).

n�23 : this chord is quite difficult. I try to play 9th minor dominant
("8-10-12-14-17")
(here : "10-17-28"), but here combination tones can't help me. If I play
a b (on A string) instead of c it's easier (then it's "5-8-14").

Problem of the modulations :
Chord n� 9 to n�10, the e (n�10) is one comma (81/80) of the e of 2nd
chord. On a violin it's because of the whole strings but I think it's
the good choice : then the D of 15th chord is really in tune with whole
string.

19 to 20 : no problem... d-e is like 8-9. Both d are differents but...
it's a modulation...

On a violin, those chords involve the following singularities :
n�1 : the b is out of tune with E string (4th 27/20).
n�2 : the e // A // // .
n�8 : the c made a 9/7 3rd with E string

Sorry, I don't write just on minor chord, but, for me it's difficult to
speak of a chord without a real context. (I know that here it'sn't a
real score, just an exercise...)

Xavier

>As for a 16:19:24 minor - I don't currently have a tuning file which
>targets that. Here's the challenge: the tuning file format I currently
>use presents a self-consistent tuning (meaning, each pitch class is
>given a tuning offset from 12-tET, with all intervals implied
>therefrom); how would one tune all 12 pitch classes in a way that would
>prominently feature minor chord(s) tuned 16:19:24 and also handle other
>chords in a reasonable way? Am I stating this clearly?

I think so. Trouble is, as Paul always points out, the diatonic scale
doesn't work in JI. Somehow, your software uses key-guessing to work
around this... how, BTW, do you deal with the V vs. ii chord problem?
Does your software distinguish between major and minor keys? I'll need
to know where in a given key your software expects to find a usable
minor chord in order to design a scale for it. Probably your key-
guessing algorithm will need to be changed, since 19:24 is not usually
considered a desirable major third.

>There is a similar problem with targeting the 6:7:9 minor chord, as I
>believe we discussed to some degree a year or so ago.

I don't remember this, but perhaps what you mean is that you don't like
9:7 major thirds, and your current approach has been depending on the
fact that strictly 5-limit major and minor triads interlock.

My approach is much more flexible in situations like this, since it is
entirely chord-based, rather than scale-based.

-Carl