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  1. My favorite is 16:21:24:28; I’m not sure if that meets the question, since as its outer interval it has 7:4, the harmonic seventh.

  2. Yes, 16:21:24 would be a harmonic sus4, if one considers 21/16 a harmonic fourth.

  3. In a neomedieval European style, sonorities like 1/1-7/6-3/2-7/4 (12:14:18:21) are at once smooth and suave, and very efficiently resolve to stable intervals by stepwise contrary motion with melodic steps, for example, around 9:8 and 28:27. I typically use tunings with near-just representations of primes 2-3-7-11-13, where 7:9:11:13 and 16:21:24:28 are examples of new sonorities which also resolve efficiently and compellingly to stable intervals or sonorities (2:3:4, 4:3:2, or simple fifths and fourths). Anyone familiar with 14th-century European cadences may understand what I am describing for 12:14:18:21, but a JI notation for a typical four-voice resolution may help:

  4. Others here may disagree, but I myself find this to be particularly useful given that I do indeed intend to draw in part from Medieval Music's Florid Organum in my own style of composition- I mean, I already have an active distinction between 81/64 and 5/4 with the former being a dissonance and the latter being a consonance. That said, the part where you present the JI notation for a typical four-voice resolution needs reformatting so I can read it better.

  5. Let me try the two-linebreak method, to see if this may be more reliable:

  6. Problem solved, hopefully, by a bit of googling: I need to end a line with two spaces or two line breaks (as with separate paragraphs) to have the newline kept when posting. So here are the two manners of cadencing:

  7. Love the writeup. Two questions.

  8. I recall there was a decision by the California Supreme Court around 1980 disallowing a charge like the federal Allen charge. But I'm not sure if state law may have changed in the 40 years or so since. I know that the Allen charge is known as a "dynamite charge," perhaps because of its power to break jury deadlocks. As the California Court observed in disallowing it, if I recall correctly, the information it gives is inaccurate, since the prosecution can decide in its discretion not to seek a retrial after a hung jury.

  9. First, Don Carlo Gesualdo, Prince of Venosa, does use B#, an enhamonic diesis below C, or 128/125 or about 41.059 cents, roughly a fifth of a tone, and his juxtaposition of B# and C is an expressive device. So it can be and has been done. A typical cembalo cromatico or chromatic harpsichord, popular around 1600 in the neighborhood of Naples, would have a 19-note range of Gb-B#, so E# and B# would be included. Typically such an instrument might be tuned in 1/4-meantone with pure 5/4 major thirds, in which case the diesis would be the size specified above.

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