Re: Digest Number 117

>I was listening some different minor tetrads (the 7-limit utonality,
the
>two ASS candidates, and one or two others), and paying close attention
to
>where the fundamental seemed to be. When I seemed to catch the 1/1 6/5
3/2
>7/4 chord approximating a 5-6-15-9 chord on 8/5!

>Besides a vague sound at 8/5, the 7/4 seems to get sharper as I go from
1/1
>5/4 3/2 7/4 to 1/1 6/5 3/2 7/4! Thinking maybe the dissonant 35/24 was
>throwing things off, I compared the 7/4 - 5/4 and the 7/4 - 6/5 dyads.
And
>noticed no change in the 7/4.

>This is the most glaring example of an Erlich-type approximation I have
>ever heard. Can anyone confirm or deny?

I've noticed this sort of thing and definitely attribute the illusory
pitch-shifts to an attempt by the brain to fit each chord into a
harmonic series. Whether JI or tempered, chords which deviate from a
harmonic series will often be "mutated" by the brain. Utonalities
(chords with a common overtone) beyond the 5-limit are more easily
understood as mistunings of lower portions of the harmonic series than
exact selections from high up in the series, so their consonance is
quite delicate (play them quietly so at least difference tones won't
contribute their decidedly otonal-favoring effects).