Register of Chords

Re: different moods of same chord in different registers.

This may be obvious to many, but I played a 4:5;6 chord (C:E:G) over each register of a keyboard whilst holding a C4 drone.

I noticed the 4:5;6 in the C3 register was a bit minor-like, I guess because the E was now a minor 6th in relation to C4. The 4:5:6 in the C6 register sounded free and light filled, perhaps because the E was now resonanting with the 5th partial of C4.

It seemed that the 4:5:6 chord altered slighlty from a minor to a major feel as I went from octave to octave.

Is the 'mood' of a chord in different registers about caused by inversions in relation to the home register of the tonic. Being new to all this, I imagine this is obvious to many. If so could someone suggest how I learn more about the musical possibilities of this.

Steve

16:15,9/8, 6/5,5/4,4/3, 3/2,8/5,5/3,9/5,15/8...these are all (if I have it right) considered the major and minor intervals from which 7-tone scales under 12TET temper from or "approximate".

I realize I'm a bit obsessed with the alternative tone 12/11, which is right smack between the minor second at 16/15 and major second of 9/8.

However I'm interested to know what other intervals you all enjoy working with which are 12+ cents or so away from the above interval, why you like them, and in which scales they occur. So have at it...what are your favorite "weird" intervals in micro-tonal music?

13/12, 14/13, 16/13, 26/21, 13/8, 24/13, Phi and (2Phi)modulo2, all kinds of neutral 6ths, 81/70... heh, lots and lots. :-)

12/11 is great, yeah!

--- In tuning@yahoogroups.com, Michael <djtrancendance@...> wrote:
>
> 16:15,9/8, 6/5,5/4,4/3, 3/2,8/5,5/3,9/5,15/8...these are all (if >I have it right) considered the major and minor intervals from which 7->tone scales under 12TET temper from or "approximate".
>
> I realize I'm a bit obsessed with the alternative tone 12/11, >which is right smack between the minor second at 16/15 and major >second of 9/8.
>
> However I'm interested to know what other intervals you all >enjoy working with which are 12+ cents or so away from the above >interval, why you like them, and in which scales they occur. So have >at it...what are your favorite "weird" intervals in micro-tonal music?
>

Almost forgot- the inversion of 12/11, 11/6, is very beautiful!

--- In tuning@yahoogroups.com, "cameron" <misterbobro@...> wrote:
>
> 13/12, 14/13, 16/13, 26/21, 13/8, 24/13, Phi and (2Phi)modulo2, all kinds of neutral 6ths, 81/70... heh, lots and lots. :-)
>
> 12/11 is great, yeah!
>
> --- In tuning@yahoogroups.com, Michael <djtrancendance@> wrote:
> >
> > 16:15,9/8, 6/5,5/4,4/3, 3/2,8/5,5/3,9/5,15/8...these are all (if >I have it right) considered the major and minor intervals from which 7->tone scales under 12TET temper from or "approximate".
> >
> > I realize I'm a bit obsessed with the alternative tone 12/11, >which is right smack between the minor second at 16/15 and major >second of 9/8.
> >
> > However I'm interested to know what other intervals you all >enjoy working with which are 12+ cents or so away from the above >interval, why you like them, and in which scales they occur. So have >at it...what are your favorite "weird" intervals in micro-tonal music?
> >
>

Throw 7/4 and 7/6 up there, as well as 11/8 and 13/8. 11/6 and 13/6 are
great as well. In general, take 7/4, 11/4 and 13/4, and go a fifth up and
down from these, and that's 9 great and accessible intervals to use right
there.

Also I'm starting to get into 17/16 (or rather 17/8) and 19/16 now, they are
also exceedingly beautiful if you can get yourself to hear them that way.

-Mike

On Mon, Feb 15, 2010 at 9:43 PM, Michael <djtrancendance@yahoo.com> wrote:

>
>
> 16:15,9/8, 6/5,5/4,4/3, 3/2,8/5,5/3,9/5,15/8...these are all (if I
> have it right) considered the major and minor intervals from which 7-tone
> scales under 12TET temper from or "approximate".
>
> I realize I'm a bit obsessed with the alternative tone 12/11, which is
> right smack between the minor second at 16/15 and major second of 9/8.
>
> However I'm interested to know what other intervals you all enjoy
> working with which are 12+ cents or so away from the above interval, why you
> like them, and in which scales they occur. So have at it...what are your
> favorite "weird" intervals in micro-tonal music?
>
>

I've loved many weird intervals.
But I think the real test for all intervals is in actual music with harmony
and strong progressions.
I found it so easy to mishear complex intervals.
Nowadays I can get all the sound I used to get from weird intervals from
simpel 5-limit intervals like 25/24, 135/128, 27/25, 256/225, 75/64, 32/25,
225/128, etc. It's the preceding intervals and the whole (chromatic) mode
that makes the sound.

Marcel

Michael wrote:
> 16:15,9/8, 6/5,5/4,4/3, 3/2,8/5,5/3,9/5,15/8...these are all (if I
> have it right) considered the major and minor intervals from which
> 7-tone scales under 12TET temper from or "approximate".
> > I realize I'm a bit obsessed with the alternative tone 12/11, which
> is right smack between the minor second at 16/15 and major second of
> 9/8.
> > However I'm interested to know what other intervals you all enjoy
> working with which are 12+ cents or so away from the above interval,
> why you like them, and in which scales they occur. So have at
> it...what are your favorite "weird" intervals in micro-tonal music?
> 7/5 is a nice tritone, and I also like the subminor third 7/6. For melodic use I also like intervals that divide other intervals into equal parts (half a minor third, 1/5 of an octave, etc.)