Re: [tuning] Digest Number 1876

On 2/7/02 6:55 PM, "tuning@yahoogroups.com" <tuning@yahoogroups.com> wrote:

> Message: 15
> Date: Fri, 08 Feb 2002 02:09:11 -0000
> From: "paulerlich" <paul@stretch-music.com>
> Subject: Re: Digest Number 1871
>
> --- In tuning@y..., <stg3music@e...> wrote:
>
>> I'd be very interested in checking out those studies, Paul (if it's
> not too
>> much trouble).
>
> spent hours in the new york performing arts library reading these.
> don't have any references handy, but i'm sure you yourself can easily
> hear that a great many classical string ensembles are relatively
> uninterested in bending their major triads away from 12-equal and
> towards 4:5:6 . . .
>

Haven't noticed so far, but I'll make it a point to focus on it.

Gerald Eskelin

On 2/7/02 6:55 PM, "tuning@yahoogroups.com" <tuning@yahoogroups.com> wrote:

> Message: 18
> Date: Fri, 08 Feb 2002 02:22:39 -0000
> From: "paulerlich" <paul@stretch-music.com>
> Subject: Re: Digest Number 1875
>
> --- In tuning@y..., <stg3music@e...> wrote:
>> but I don't
>> know what "Utonal" means. So, at this point, I don't know what it
> was > that I
>> didn't buy for a second. Want to try it again, Paul?
>
> i suggested an admittedly far-fetched explanation of the high third
> phenomenon. if a major triad were tuned 1/(24:19:16), then the 24th
> harmonic of the root, the 19th harmonic of the third, and the 16th
> harmonic of the fifth would all coincide. this is "Utonal", while
> "Otonal" chords have all the notes as overtones of an "implied"
> fundamental. anyway, the 1/(24:19:16) chord is, in cents, 0 404 702,
> so it seemed the best "acoustical" match to "your" high third major
> chord. since you came onto the list seemingly convinced that there was
> an acoustical explanation for it from overtones and the like, this is
> what i offered you as your 'best bet'.
>
> like you, i feel that this 'coinciding overtones' phenomenon is too
> weak, especially with such high overtones, to explain much of musical
> practice. i think it's more a matter of getting the third to 'stand
> out' -- it kind of disappears in just intonation, which was fine for
> renaissance harmony, but not necessarily appropriate to the aesthetics
> of the type of music you're working in . . .

You're right. I'm not buying it for a second. Thanks for the reminder.

Gerald Eskelin