source file: mills3.txt Date: Mon, 22 Sep 1997 20:16:02 +0200 Subject: Re: pop in microtones From: DFinnamore@aol.com Johnny Reinhard writes: > Perhaps microtones is -- and has already been -- part and parcel of pop. > Without getting too specific at first about what _pop_ is, comtemplate the > following if you will. > > Blues, heavy metal, rap, and much of music for commercials (unusual > music needed for quick sell). > > Beach Boys and Pink Floyd are regularly in just intonation. Whitney > Houston and Albert King and Odetta and Louis Armstrong are regular > practitioners of microtones. I'd contend that they're thinking 12-tET but their good ears pull them out of it and into tune. For instance, David Gilmore (of Pink Floyd) certainly uses a great deal of the pitch continuum through string bends and slide usage, but I doubt that he intentionally or knowingly uses, say, a 5/4 instead of 400 cents. I'm a big Floyd fan and I don't remember ever hearing them use any harmonies that could not be implied by 12-tET - with the exception of purely intentional dissonance. There's a southern gospel group called The Gaither Vocal Band whose four-part harmonies on the last 2 or 3 albums have been _very_ nicely tuned - beats the Beach Boys all to pieces; so much so that a 7th overtone can often be clearly heard being generated by a major triad. It's really beautiful singing. But I don't think any of the guys understands what JI is. They blend intuitively, by ear. They're still thinking 12-tET. The same would go for the Beach Boys. That doesn't qualify as microtonal composition as far as I'm concerned. 12-tET roughly approximates 5- or 7-limit JI, and good musicians tend to correct that approximation whenever their intrument and the pacing of the music allow it, even without knowing about or understanding the mathematical beauty they're participating in. I believe that's all there is to it. > Microtonal distinction is part of what > gives that special sound to a new musician or a musical group. Time to > stopping looking into the books and smell the coffee. Microtones are here > to stay. :) Of that I have no doubt! Ummmm... smells good! Still, though, one can read a book and sip coffee at the same time. SMTPOriginator: tuning@eartha.mills.edu From: esabat@adinet.com.uy Subject: Re: TUNING digest 1184 PostedDate: 23-09-97 04:08:33 SendTo: CN=coul1358/OU=AT/O=EZH ReplyTo: tuning@eartha.mills.edu $UpdatedBy: CN=notesrv2/OU=Server/O=EZH,CN=coul1358/OU=AT/O=EZH,CN=Manuel op de Coul/OU=AT/O=EZH RouteServers: CN=notesrv2/OU=Server/O=EZH,CN=notesrv1/OU=Server/O=EZH RouteTimes: 23-09-97 04:08:20-23-09-97 04:08:20,23-09-97 04:07:27-23-09-97 04:07:28 DeliveredDate: 23-09-97 04:07:28 Categories: $Revisions: Received: from ns.ezh.nl by notesrv2.ezh.nl (Lotus SMTP MTA v1.1 (385.6 5-6-1997)) with SMTP id C125651B.000BBCAE; Tue, 23 Sep 1997 04:08:12 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA05021; Tue, 23 Sep 1997 04:08:33 +0200 Date: Tue, 23 Sep 1997 04:08:33 +0200 Received: from ella.mills.edu by ns (smtpxd); id XA05017 Received: (qmail 10263 invoked from network); 23 Sep 1997 02:08:28 -0000 Received: from localhost (HELO ella.mills.edu) (127.0.0.1) by localhost with SMTP; 23 Sep 1997 02:08:28 -0000 Message-Id: <199709230038.VAA18125@mail.adinet.com.uy> Errors-To: madole@mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu