source file: m1358.txt
Date: Wed, 18 Mar 1998 15:57:57 -0500

Subject: Reply to Joe Monzo

From: "Paul H. Erlich" <PErlich@Acadian-Asset.com>

}I also give Hendrix the credit for bringing the 19-identity (the "sharp
}9th" of the chord, i.e., the "minor 3rd" played an octave above the
}"major 3rd" in a "dominant 7th chord") definitely and securely into the
}harmonic language of rock -- an excellent example is the main riff at
the
}beginning of  "Foxey Lady" on "Are You Experienced" (vintage 1967).

As a rock guitarist who is both an avid Hendrix buff and a constant
investigator of tuning possibilities, I must dispute this claim. If the
bottom three notes of the chord (well known to guitarists as "The Jimi
Hendrix Chord") are tuned 1/1:5/4:7/4, and a sharp 9th is added above
the chord, the most consonant (and most appropriate on distorted guitar)
tuning for the sharp 9th is 7/3. Try it yourself if you don't believe
me. The 4/3 between the 7th and sharp 9th is very solid, while a 19:14
in the same position is too complex a ratio and just sounds out-of-tune.

The way the chord is played on guitar, the two lowest notes are played
with the two strongest fingers, which a good player (like Jimi) will use
to apply bending and/or vibrato. This will bring the chord from 12-equal
to something approaching just intonation.

Not all chords are best analysed as portions of the harmonic series!