Re: Monz' latest experiment

Kudos again Monz for doing the good work here, I will
try to grab these and give them a listen.
>
> >The ratios used in the example:
>
> >F 4/3 21/16
> >E 5/4 5/4
> >D 9/8
> >C 1/1 1/1 1/1
> >B 15/8
> >A 5/3
> >G 3/2 3/2 3/2
>
> That's the David Doty/Harold Fortuin version, and it made me nauseous. The
> "low seventh" of the V at 3/2 sounds too flat to represent any kind of
> "scale degree 4 in major", sounding instead like a microtonal experiment.

If I understand what Jerry is saying, he would advocate this as well. If
we put a big fermata over the V chord, particularly if it doesn't go
to the I chord (but to the vi, or some other 'non-terminal' target)
then I could see it gravitating to this 'consonant' voicing.

>
> >Pythagorean
> >-----------
>
> >The ratios used in the example:
>
> >F 4/3 4/3
> >E 5/4 5/4
> >D 9/8
> >C 1/1 1/1 1/1
> >B 243/128
> >A 5/3
> >G 3/2 3/2 3/2
>

I tried this the other night. Yes, the V7 chord is a bit jangly,
but it sure pulls to the I. I also think there is a certain "magic"
to the fact that the diminished triad is tuned in identical
intervals (32/27).

This was the tuning I thought would be 'more likely' in traditional
practice than the 7-limit which I thought Jerry was advocating. I
think a string quartet might very well use this one, with the
strident high third and stable four, masking some of the grittier
aspects with vibrato.

>
> I hope Gerald Eskelin, Mark Nowitzky, and others will listen to
> these files and share their honest impressions. Thanks again, Monz!!!
>

Me too! Thanks again Monz.

Bob Valentine