Re: 7:5

Carl
i haven't piped in for a while but thought i would comment on this 7/5 thread as i used it almost exclusively in scales but not necessarilly in chord building. i conveniently use it in sequence with of course the 7/6 and the 7/4. But most hindi music at least uses what is called a 45/32 and bends around to that 7/5 which i
recall was the hardest to tune on the hammerstrings while that 8/5 was a sinch. But I admit it took like two months to hear 7/5 as consonant in any context chords or melodic sequence. Hope this is'nt too far off what you all are chatting about
Pat

Carl Lumma wrote:

> From: Carl Lumma <clumma@nni.com>
>
> >>My friend is a trained classical musician, and his ear locates 8/5's in
> >>triads quicker than you can randomly change their roots while he listens.
> >
> >What does that mean?
>
> Well, if you play an 8:5:4 triad and then immediately play an 8:5 dyad, the dyad should sound more consonant than if played alone because the listener has already placed it in a harmonic series.
>
> I told my friend the same thing about the tempered tritone and the 8/5, except that he doesn't think the two are equally dissonant. He hears all 8/5's as incomplete triads. I told him that if he spent some time listening to and playing 7-limit harmono-melodic music, he might learn to recognize the 7/5 as a consonance.
>
> -C.
>
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