source file: mills2.txt
Date: Tue, 16 Jan 1996 09:59:38 -0800

Subject: Who's Afraid of the Big Bad 9:7, Part 5

From: Gary Morrison <71670.2576@compuserve.com>

+----------------------------------------------------------------------------+
|  Tip #7:                                                                   |
|     Using timbres with weak even harmonics helps a bit, but not a lot, to  |
|     bring out 9:7 as distinct from 5:4.                                    |
+----------------------------------------------------------------------------+


   I expected using timbres with weak fourth harmonics in particular to improve
the initial freaky sensation of 9:7 a lot more than it did.  In concept, given a
strong fifth harmonic, weakening the fourth would make the 5:4 harder to
pinpoint, and thus make 9:7 easier to focus on.  Using clarinet, squarewave, or
capped flute-pipe sounds does seem to help a little, but not as much as this
sort of theory would suggest.  


+----------------------------------------------------------------------------+
|  Tip #8:                                                                   |
|     When trying to get used to 9:7's initial brashness, use well-known     |
|     traditional techniques for softening the blow.                         |
+----------------------------------------------------------------------------+


   For many people, probably understandably, some means of cushioning the
initial shock of 9:7s will be necessary to keep ears from turning off to it,
thus abandoning their effort to try to enjoy it.  This applies equally well to
composers first experimenting with 9:7, as to the compositional level.  That is,
when audiences hear a composer's work after that composer has already become
acustomed to them.  

   So to reduce the initial freak-out potential, consider using very well-known
traditional techniques:  For example, explore melodic uses before harmonic.
Also, try it initially with light vibrato or chorus effect.  Use it in passing
melodic or dissonant harmonic contexts first, and then later in rhythmically
accented places in your music.  (In actual composition, I don't recommend
postponing rhythmically accented usage for too long though;  see tip #10.)  

   You may find that, just as with the "snake charmer" feel of 7:6, 9:7's
unique, exotic sensation comes out more clearly melodically.  Perhaps I
shouldn't even suggest this, because this was not the case for me.  It came
apparent to me harmonically from Dave Hill's tape.  Still, if I were exploring
it for myself without the aid of Dave's lecture/demo, I suspect that that's how
it would have unfolded first.  

   And in what specific melodic light should you approach 9:7?  Tip #9 in the
next installment gives at least a temporary tactic to consider.  


Received: from eartha.mills.edu [144.91.3.20] by vbv40.ezh.nl
           with SMTP-OpenVMS via TCP/IP; Tue, 16 Jan 1996 19:01 +0100
Received: from  by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
	for <coul@ezh.nl> id KAA03046; Tue, 16 Jan 1996 10:00:57 -0800
Date: Tue, 16 Jan 1996 10:00:57 -0800
Message-Id:  <9601131102.aa10482@cyber.cyber.net>
Errors-To: madole@ella.mills.edu
Reply-To: tuning@eartha.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@eartha.mills.edu