I think Commander Data was at the helm that night.

:-)   :-)

Good ome back, I like it.

-Partev


==================================================

--- badmuthahubbard@gmail.com wrote:

From: Chuckk Hubbard 
To: csound@lists.bath.ac.uk
Subject: Re: [Csnd] Re: Re: music theory (was re:Xenakis)
Date: Thu, 20 Jan 2011 00:52:09 +0200

On Tue, Jan 18, 2011 at 5:38 AM, Partev Barr Sarkissian
 wrote:
> "A tritone is made up of three tones"---
>
> well,... more specifically, it's a three whole tone interval.
> Play a C and F# together, or a B-natural and F-natural
> together. A "tritone" also known as "diabolus de la musica"
> or the "devil in the music".
>
> As opposed to say a "Tierce de Picardie" or Picardie third,
> where you end a minor key section of music with a major tonic
> resolution on the final harmonic cadence. Which has a more
> pleasant sound. It's named after the province of Picardy in
> France, where this music device was used in cathedral music.

Did the conductor say, "NUMBER ONE, ENGAGE," at the end of the piece?
:)

-Chuckk



>
>
> -Partev
>
>
> ==========================================================
>
>
> --- richarddobson@blueyonder.co.uk wrote:
>
> From: Richard Dobson 
> To: csound@lists.bath.ac.uk
> Subject: [Csnd] Re: Re: Re: Re: Re: music theory (was re:Xenakis)
> Date: Mon, 17 Jan 2011 13:04:04 +0000
>
> On 13/01/2011 09:53, kelly hirai wrote:
>> i thought the tritone was the interval between the 3rd and the 7th of a
>> dominate 7th chord. i can't do the math of the top of my head this late
>> at night though but the 5th harmonic and the 3rd harmonic of the 3rd
>> harmonic. 1/5:1/9 ??? kelly
>>
>
>
> A tritone is made up of three tones. Of course, how it is tuned depends
> on how the tones are tuned; and as we know tones are variable.
>
> People seem still to be of the impression that the names of intervals
> somehow directly describe their tuning. They do not (not even in the
> case of the "perfect" intervals). Tuning is certainly a closely related
> issue, but technically a separate one. The names of intervals refer
> primarily to notation (mental or written), reflecting the natural
> "white-note" scale on which the staff is based - i.e. how the notes are
> ~spelled~. Thus any two notes either on adjacent lines or on adjacent
> spaces on the staff are "a third apart". What they sound like depends on
> the spelling (B# to Db etc), and only thereafter on what conventions are
> used for tuning that set of twelve (or more) semitones; whether
> Pythagorean, Just, Mean or plain guesswork.
>
>  From this has come the principle, based largely on the principle of
> Occam's razor, of saying, on hearing a particular interval, what the
> interval most probably is. This favours accidentals the least removed
> from the natural C scale. So, Eb rather than D#, and B rather than Cb. A
> semitone is ~usually~ a minor second, so that is a reasonable answer. A
> more 50:50 example would be "minor sixth" or "augmented fifth" - both
> would be accepted as a correct answer in an aural test.  I don't know
> what they do these days, but in the Good Old Days the examiner would ask
> a follow up: "Augmented fifth? Correct. If the lower note is a C, what
> is the upper note?". If the student then says Ab, that would be the
> wrong answer.
>
> In short - the acid test of all this is not whether you can describe the
> interval in terms of ratios (yawn), but whether you can (a) sing or play
> it back and (b) write down the passage from dictation ~as it was written
> by the composer~.
>
> Now I do agree that there could be some utility in having more
> notation-independent names for intervals, to accompany the tritone, but
> we don't have them. We could invent them easily enough - the bintone,
> the quartone, the heptone, and probably the dodecasemitone and the
> pantone ... but getting people to use them is probably not going to be
> so easy.
>
> And everyone will still disagree on how they are tuned.
>
>
> Richard Dobson
>
>
>
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>
>
>
>
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-- 
http://www.badmuthahubbard.com


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