source file: mills2.txt
Date: Sat, 24 Feb 1996 11:14:42 -0800

Subject: Re: MAKING AN YELLO NOIZE

From: Gary <71670.2576@compuserve.com>

I'm not sure Masaaki is asking with the word "multi-tonal".  But if I
understand the question, I think the answer would be that you definitely can
create the sense of tonality and modulation in 88CET tuning.  That even with
nontraditional harmony, and in the absense of an octave.  

   I'm not sure about others' experience, but I have definitely had a harder
time creating a sense of tonality with nontraditional harmony, since I don't
have a deep musical heritage of well-understood progressions to draw from.  But
traditional or not way, I was very suprised that tonality would be possible in
the absense of an octave.  I didn't think it would be realistic to be able to
revolve harmony around a single pitch rather than entire pitch class.  But,
amazingly enough, it works great!  

   I've got a feeling that that didn't answer Masaaki's question though...

   As for 7:4, I'd be interested to hear other tuning listers' experience with
it, but to me it is indeed a very valuable and intuitive pitch relationship.  I
often like to think of it as a "fifth with a zap", or sometimes a "fifth with an
attitude".  My sense is that it is meaningful enough to our ears to take on
structural significance in a tuning, perhaps of the sort that Masaaki suggested.
What does everybody else think?  


Received: from eartha.mills.edu [144.91.3.20] by vbv40.ezh.nl
           with SMTP-OpenVMS via TCP/IP; Sat, 24 Feb 1996 20:16 +0100
Received: from  by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI)
	for <coul@ezh.nl> id LAA14600; Sat, 24 Feb 1996 11:15:54 -0800
Date: Sat, 24 Feb 1996 11:15:54 -0800
Message-Id: <960224191231_71670.2576_HHB67-7@CompuServe.COM>
Errors-To: madole@ella.mills.edu
Reply-To: tuning@eartha.mills.edu
Originator: tuning@eartha.mills.edu
Sender: tuning@eartha.mills.edu