AW.: RE: RE: Re: Response to Dave Hill on JI and European com posi t...

In einer Nachricht vom 12/16/99 9:20:03 PM (MEZ) Mitteleurop�ische
Zeitschreibt PErlich@Acadian-Asset.com:

<< (try, for example, Brahm's _In
stiller
>Nacht_).

Can you elaborate on what tuning problems this piece presents? >>

For example the repeated alternating chords:

S: g' f'
A: eb' eb'
T: bb cb'
B: eb Ab

I really want to hear the second chord as a subharmonic harmonic seventh
chord with eb' as the one identity of both chords, sounding like something
right out of Partch:

5/4 8/7
1/1 1/1
3/2 8/5
1/1 4/3

But the conventional analysis (e.g. Schoenberg) identify f as the second
chord's tonic, and there functional and motivic aspects in the piece as a
whole that make one not want to immediately give up these interpretations as
well. Brahms rehearsed his choir from the piano, so I assume that the puns
available in temperament were intended.

----------
>From: DWolf77309@cs.com
>To: tuning@onelist.com
>Subject: AW.: RE: RE: [tuning] Re: Response to Dave Hill on JI and European com
posi t...
>Date: Thu, Dec 16, 1999, 2:26 PM
>

> From: DWolf77309@cs.com
>
> In einer Nachricht vom 12/16/99 9:20:03 PM (MEZ) Mitteleurop�ische
> Zeitschreibt PErlich@Acadian-Asset.com:
>
> << (try, for example, Brahm's _In
> stiller
> >Nacht_).
>
> Can you elaborate on what tuning problems this piece presents? >>
>
> For example the repeated alternating chords:
>
> S: g' f'
> A: eb' eb'
> T: bb cb'
> B: eb Ab
>
> I really want to hear the second chord as a subharmonic harmonic seventh
> chord with eb' as the one identity of both chords, sounding like something
> right out of Partch:
>
> 5/4 8/7
> 1/1 1/1
> 3/2 8/5
> 1/1 4/3
>
> But the conventional analysis (e.g. Schoenberg) identify f as the second
> chord's tonic, and there functional and motivic aspects in the piece as a
> whole that make one not want to immediately give up these interpretations as
> well. Brahms rehearsed his choir from the piano, so I assume that the puns
> available in temperament were intended.
>
Paul Hindemith, in his book "The Craft of Musical Composition" would call
the Ab in the second chord the root, in that it is "root" of the most stable
interval (Ab up to Eb). His point of view is very refreshing to any "jazzer"
who knows very well that the root of a C6 chord is NOT "A."

Gerald Eskelin