source file: mills2.txt
Date: Mon, 9 Sep 1996 09:52:34 -0700

Subject: Re: More on minor 7ths

From: Gary Morrison <71670.2576@compuserve.com>

Harold Fortunin suggests:
> Do NOT substitute the 7:4 over V for the diatonic scale degree 4--for melodic
> purposes, use 4:3, and for dominant seventh chords, use 7:4 over V. This
> practice will not bother anyone who makes use of the dominant seventh chord in
> the minor scale.

   As with your other suggestions, this strikes me as definitely reasonable.
This of course raises some interesting wandering-tonic questions in the case of
common (i.e., held) scale degree 4 between IV and V7 in a typical I-IV-V7-I
progression.  Retaining scale degree 4 as a common tone in that progression, if
I recall correctly off the cuff, causes the ending tonic to be 36:35 above the
beginning tonic.  

   On a related side note, in a recent e-mail conversation with Bill Sethares,
he told me about the work he's done with generalizing his tuning-timbre
interaction discoveries to include dynamically-changing tuning.  Or to state it
another way, he's devised algorithms for generalizing the dynamic JI task to
other tuning-timbre combinations.  That strikes me as having very exciting
possibilities, but I'd probably better not say much more just in case Bill wants
to keep it quiet until he publishes his results.  

   But anyway, in that conversation, I noticed a difference in attitude toward
wandering tonics.  He viewed them, in essence, as a problem to be dealt with.
By no means do I view that as an inappropriate opinion, but my opinion is
exactly the reverse;  I think that wandering tonics have a very fascinating
musical effect.  


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