"Do you hear what I hear???" [big, big third discus sion] >

To Joseph Pehrson's post:
>
>>I'm finding that I'm hearing pretty much what Gerald Eskelin is hearing...
>>in *BOTH* cases the triangle waveform seems to make the thirds seem
>>"flatter" when the fifth comes in...

Paul Erlich commented:
>
> I think that's the opposite of what Jerry was hearing, which was that the
> thirds seemed to get sharper when the fifths came in, though he found the
> effect to be much stronger with the sine waves (right, Jerry?)

I think I understand what Joe is remembering here. (Check me if I'm wrong,
Joe.) At least, this is what I heard, if not what I said. In both cases, the
triangle wave made the third move _less_ than the sine wave did when the
fifth came in--therefore both triangle examples were flatter than than in
the sine wave examples. And Paul is correct in that I said I heard the third
rise more vividly in the sine examples.

Isn't it nice when everyone can be right? :-))))))
>
>>Could there be some mathematical explanation in a kind of Fourier analysis
>>approach that could explain why the different timbres could result in a
>>different "perception" of these thirds... or doesn't that "wash...??"
>
> Not Fourier analysis, but psychoacoustics: sine-wave components do tend to
> _subjectively_ "push" one another apart -- that's what those German papers
> were about . . .

Paul, does "push one another apart" mean "widen the interval"?

Joe, I'm pleased to know you heard something similar to what I experienced.
Your post, like Graham's, may inspire others here on the List to get into
"ear" tuning. That would be the best of all worlds, from my standpoint, and
would validate my journey into the land of the microtonalists.

Jerry