Isoharmonic chords (was: misc clean up ... )

Hello Graham!
As with JI it is not a matter of belief. If all that mattered was the ratios or limits. all inversions of a chord would be more or less the same level of con/dis. nothing could be further from the truth. Difference tones are one aspect that changes hence they are already invoked. As it so happens I was a student in O'Connells class , and i was through him that i first met Erv. BTW he also happen to be teacher of LaMonte Young although the big L had not
taken the jump into JI. He asked the class to raise their hands when two pitches got to the octave. At phi more than half the class raised their hands.

Yes it is a great shame that so many great things have not taken the world by storm. The diamond, the eikosany even more so. Even Microtonality in general. There is quite a bit in Psychology about how people cannot see what is right in front of them.

Make some phi scales and play with them and they remain at a constant con/dis level making a counterpoint when con/dis no longer becomes a factor, instead we have only free voice leading. In actuality, I believe some of these scales have taken the world by storm, but am leaving that for others to discover for them selves. One does not need to look far. nor does one have to rely on belief.

tuning@yahoogroups.com wrote:

>
> From: graham@microtonal.co.uk
>
>
> Have those of you who believe in this difference tone theory tried
> O'Connell's phi-MOS with phi timbres? It's in Xenharmonikon 15 and may be
> the same as one of Chowning's ideas. Difference tones agree the same as
> with harmonic timbres and JI. So if difference tones govern dissonance,
> this should be amazingly consonant. Despite which, it hasn't taken the
> musical world by storm.
>
> I'm finding 8:11:13 chords sound okay. Simple otonal spellings with no
> intervals within a critical band is important. Why invoke difference
> tones?
>
> Graham
>
> -- Kraig Grady

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