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Re: Digest Number 472

🔗Gerald Eskelin <stg3music@earthlink.net>

1/4/2000 3:05:32 PM

Paul Erlich mentioned:

>In response to Gerald,
>I'd have to say that I have a very good ear and I've only heard poor singers
>use something close to 7:9 in stable, held major triad.

"Poor singers?" I'm not sure whether to absorb this input in terms of 7:9
thirds or in terms of the quality of singers. Since my novice singers at the
college seem to tune thirds the same way the singers who I have to pay $250
per gig, I'm not sure which ones are "poor." Perhaps you could clarify,
Paul.

G

🔗Paul H. Erlich <PErlich@xxxxxxxxxxxxx.xxxx>

1/6/2000 12:52:58 PM

>>In response to Gerald,
>>I'd have to say that I have a very good ear and I've only heard poor
singers
>>use something close to 7:9 in stable, held major triad.

>"Poor singers?" I'm not sure whether to absorb this input in terms of 7:9
>thirds or in terms of the quality of singers. Since my novice singers at
the
>college seem to tune thirds the same way the singers who I have to pay $250
>per gig, I'm not sure which ones are "poor." Perhaps you could clarify,
>Paul.

I can readily identify a 14:18:21 triad, and when I hear it in vocal music,
it is by singers with rather inconsistent intonation (hence "poor" singers)
rather than ones who consistently shoot for this tuning.

Mandelbaum, p. 64:

"In experiments related to the writing of this paper, the septimal minor
chord [6:7:9] was enthusiastically received while the septimal major
[14:21:28] was not."

🔗D.Stearns <stearns@capecod.net>

1/6/2000 5:00:59 PM

[Paul:]
>I've only heard poor singers use something close to 7:9 in stable,
held major triad.

[Gerry:]
>"Poor singers?" I'm not sure whether to absorb this input in terms of
7:9 thirds or in terms of the quality of singers.

[Paul:]
> I can readily identify a 14:18:21 triad, and when I hear it in vocal
music, it is by singers with rather inconsistent intonation (hence
"poor" singers) rather than ones who consistently shoot for this
tuning.

This thread seems to me like it would benefit greatly from some
musical examples (or even isolated tuning examples). Perhaps Gerry can
reference some vocal music (his or others) where the "high third" in a
major triad that he is referencing here is making itself particularly
apparent? Without this it seems hard to imagine this thread really
going anywhere (other than where it seems to be presently stalled at
that is).

Dan