<html><head><meta http-equiv="content-type" content="text/html; charset=utf-8"></head><body dir="auto"><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Thanks to those who've addressed my spelling error. One of my MD's spells his name 'Cope-' A little cognitive dissonance to keep me on my toes. </span></div><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><br></span></div><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Donna Doyle</span></div><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><br></span></div><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Adj Asst Prof</span></div><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Aaron COPLAND School</span></div><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Queens--CUNY</span></div><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Flushing, NY 11367</span></div><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><br></span></div><div><br></div><div><br></div><div><br></div><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><br></span></div><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><br></span></div><div style="-webkit-text-size-adjust: auto;"><br>On Jul 20, 2014, at 7:01 AM, Donna Doyle <<a href="mailto:donnadoyle@att.net">donnadoyle@att.net</a>> wrote:<br><br></div><blockquote type="cite" style="-webkit-text-size-adjust: auto;"><div><meta http-equiv="content-type" content="text/html; charset=utf-8"><div>Yes, "physics moved in modernity into the realm of microcosm." However, try building a bridge without respecting Newton. At least in the musical realm no one gets killed. <br><br>Best,</div><div>Donna Doyle<div><br></div><div><br><div>Adjunct Assistant Professor</div><div>Aaron Copeland School of Music</div><div>Queens College</div><div>Flushing, New York 11367</div></div></div><div><br>On Jul 18, 2014, at 6:16 PM, CARSON FARLEY <<a href="mailto:ccfarley@embarqmail.com">ccfarley@embarqmail.com</a>> wrote:<br><br></div><blockquote type="cite"><div><div style="font-family: times new roman,new york,times,serif; font-size: 12pt; color: #000000"><span style="color: rgb(0, 0, 0);">Considering the fact that a vibrating string produces overtones in the lower partials of a major triad and then a dominant 7th chord it would seem that the ubiquitous triad is present in nature as a law of physics and heard consciously or unconsciously throughout human history as overtones produced in some manner by taught strings, overblown wind/brass instrument partials, or in Pythagoras' case the differing notes of a struck anvil/metallurgy as he passed the blacksmith shop. How to overcome the "ubiquitous" triad? As a composer I believe that the harmonic partials of a single tone are the electrons to any fundamental pitch/atom. For example, a scale can be created by extracting a dominant 7th chord (either tempered or non tempered) from the lower 8 partials of a single tone and then doing the same for another interval pitch and combining the results - C and B for example resulting in the following pitches: </span><font color="#ff0000">B</font>,<font color="#3333ff">C</font>,<font color="#ff0000">D#</font>,<font color="#3333ff">E</font>,<font color="#ff0000">F#</font>,<font color="#3333ff">G</font>,<font color="#ff0000">A</font>,and <font color="#3333ff">Bb</font> (or the normal form of <font color="#cc0000">A</font>,<font color="#3333ff">Bb</font>,<font color="#cc0000">B</font>,<font color="#3333ff">C</font>,<font color="#cc0000">D#</font>,<font color="#3333ff">E</font>,<font color="#cc0000">F#</font>,<font color="#3333ff">G</font>). Hindemith explores the importance and gravity of partials and overtones as compositional material and so do other 20th century theorists like Mathieu in "Harmonic Experience." The way to get away from/avoid the "ubiquitous" triad is to approach any individual tone as it's own microcosm of overtone/partial electrons and avoid using triads as the essential building blocks so long taken for granted as the starting place for harmony. Just as physics moved in modernity into the realm of microcosm, so must music. A triad is in many ways a relic of the past no longer relevant to contemporary science/practice unless of course the desired result is traditional sound/music. <div><br></div><div>Carson Farley</div><div>Composer/cellist/theorist</div><div>University of Washington Alumnus </div></div></div></blockquote><blockquote type="cite"><div><span>_______________________________________________</span><br><span>Smt-talk mailing list</span><br><span><a href="mailto:Smt-talk@lists.societymusictheory.org">Smt-talk@lists.societymusictheory.org</a></span><br><span><a href="http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org">http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org</a></span><br></div></blockquote></div></blockquote><blockquote type="cite" style="-webkit-text-size-adjust: auto;"><div><span>_______________________________________________</span><br><span>Smt-talk mailing list</span><br><span><a href="mailto:Smt-talk@lists.societymusictheory.org">Smt-talk@lists.societymusictheory.org</a></span><br><span><a href="http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org">http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org</a></span><br></div></blockquote></body></html>