Fw: Raised third?

Jerry Eskelin's reactions to the wav files suggest that his impression of a
raised third has little to do with the actual size of the intervals
involved. I don't doubt that Jerry is hearing the interval move, but I
don't hear it myself. Perhaps this phenomena is more in the realm of
individual psychology -- each one of us has a lifetime of experience with
musical materials, and the ways in which we experience and identify these
materials can be highly individualized. Personally, I am quite struck by
the beating in the pythagorean and 48:19 versions, find the 2:3:5 version to
be -- as Alvin Lucier would put it -- "clear, like gin", but am very
attracted to the septimal, which beats, but in a way I like (Talisker,
perhaps?).

If your main performing situation is with choral voices, where even a unison
is more a matter of faith than fact, the amount of wavering is probably
going to be well within the whole range of intervals we've been discussing.

For what it's worth, I've added two more downloadable WAV files with the
same chord:

http://home.snafu.de/djwolf/9.7.WAV
has the tenth tuned to 18:7 (the septimal 9:7 plus an octave)

and

http://home.snafu.de/djwolf/81.64.WAV
has the tenth tuned to 81:32 (the pythagorean 81:64 plus an octave)

these now join the previously mentioned:

http://home.snafu.de/djwolf/24.19.WAV
where the 10th is tuned 48:19 (or 24:19 plus an octave)

and

http://home.snafu.de/djwolf/5.3.2.WAV
where the 10th is tuned 5:2 (5:4 plus an octave)

The chords are played twice, once with sines, once with triangle waves, in
each case, a sustained Major 10th is joined, with a delay, by a tone 3:2
above the lower tone in the tenth:

Daniel Wolf
http://home.snafu.de/djwolf/