Re: Digest Number 554

Hi Mats(?)

Sounds like your influences are similar to mine. I haven't made up my
mind how to reconcile 'jazz harmony', which seems to me like the full
realization of 12tet harmony, with where I want to go with extended
harmonic materials and I can't help you with tools. Welcome!

>One radical example iM-4ve been using as a pianist for a while,which usually
>puts confusion in the mind of people when i play it,is a 12tet chord thatM-4s
>undoubtley tritave-based!From bottom to top,the notes are(in C):

>C E Bb Eb G B

Does it have the same quality to you when you voice it more as

Bmaj7
----- = C E G B D# (F#) A# ?
Cmaj7

Just curious. I like that sort of sound as well as endlessly stacking
major triads

C E G B D F# A C# E G# B etc...

although I never really thought of the tritave orientation in those
terms.

Of course, once you are out of 12tet, those sharps and flats become important.
I have a soundcard with tuning tables and can try limited 12-out-of-N
experiments, and this looks like another good one. (In 31, the sharps are
lower than the flats and result in 'septimal' intervals).

Bob Valentine