AW.: RE: Locking in

I've been pondering the apparent raised third by choral groups. It seems to
very difficult to find positive grounds for identify the interval with a 9:7,
especially within a triadic context.

Perhaps we're framing the question wrong. If, as a warm up, we were to sing
the triad c-e-g, I might very well sing the "e" raised, in anticipation of
moving to an f in a subdominant harmony. The exact interval of that raising
need not be as important as the sensation of "leading-toneness". If,
however, I sang that "e" following a dominant harmony, I would probably relax
the intonation, seeking a restful conclusion on a 4:5:6 triad.

It would be interesting if Gerald could record a choral group singing the
same triad three times: (1) alone, (2) before a subdominant chord, and (3)
after a dominant chord.