Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Path: utzoo!watmath!clyde!burl!hou3c!hocda!houxm!ihnp4!inuxc!pur-ee!uiucdcs!parsec!graham From: graham@parsec.UUCP Newsgroups: net.music Subject: Re: Tempered scales - (nf) Message-ID: <6124@uiucdcs.UUCP> Date: Sat, 10-Mar-84 22:43:29 EST Article-I.D.: uiucdcs.6124 Posted: Sat Mar 10 22:43:29 1984 Date-Received: Mon, 12-Mar-84 05:08:36 EST Lines: 24 #R:decwrl:-608200:parsec:39000002:000:1067 parsec!graham Mar 10 14:10:00 1984 .. > Just a followup to the subject of temperment. It is easy (technically) > for vocalists and players of unfretted string instruments to play > in just temperment (the natural harmonic scale). I used to sing > (many years ago) in the Renaissance Chorus of N. Y. (anyone out > there remember it?), and our director used to spend great amounts > of time trying to make us sing natural harmonic intervals. When > you "lock in" to a perfect unison, octave, fourth, or fifth, there's > a resonance effect -- a diminution of the effort to sing the note -- > that's almost euphoric. The sound judges of SPEBSQSA (Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America) call that euphoria "expanded sound". SPEBSQSA quartets and choruses sing in the style you suggest, but matching the vowel sounds as well as tuning the intervals is required to maximize the euphoria. Try it, you'll like it. Marv Graham; ConVex Computer Corp. {allegra,ihnp4,uiucdcs,ctvax}!parsec!graham PS: look up your local SPEBSQSA chapter in the phone book