I-IV-V7-I

Dave Keenan suggested to Joe Monzo:

> You might like to add the following example. It's adaptive JI using the 5:9
> instead of the 4:7. Instead of a single syntonic comma shift between F and
> G7 we've spread it over the 3 transitions. This is equivalent to having the
> roots in 1/3-comma meantone with vertical JI. I expect 5[4:5:6|5:6]9 would
> be a lot easier to sing a cappella than 9[4:5:6|27:32]16 (because all but
> one of its 6 intervals can "lock in" and the 6th one is far enough away
> from anything simple that it will have no "pull" in any particular
> direction),

That worries me. "My" tritones leave no doubt about the direction of "pull."

> and I expect it will sound more natural in a diatonic context
> than 4:5:6:7. Maybe this is the one that can satisfy both Dave and Jerry?
>
> F 4/3 27/20
> 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
>
> all all
> +7.2c -7.2c
>
> It would have been nice to give Jerry just this one and the adaptive
> 4:5:6:7 "barbershop" one in a blind test to see which he preferred, and
> which he thought his singers were (or should be) closest to.

If you're willing, Monz, I'm willing. (I did find the Digest that contained
your MIDI post, but as before I'm having trouble opening it. I'll keep
trying. I have to call Earthlink to find out why the mp3 I posted on my site
won't "come down." I'll ask about my difficulty opening MIDI files, too.)

Jerry