Inversion of 6:7:9

> Do you mean the exact inversion (/6:/7:/9) or the voicing "inversions" or
> "positions": 7:9:12, 9:12:14 ?

Good point.

I meant inversion in the melodic sense, not the traditional harmonic sense.
That is, arpeggiate 6:7:9 to make a melody, invert that melody, then
dearpeggiate that. In other words: /6:/7:/9.

9:7, to me at least, has a kinda freaky sound, but I like it. Or let me
rephrase that: I should say that I like it BECAUSE of its kinda freaky
sound. It doesn't strike me as discordant, but I have been able to use
it as reasonably effective a dissonance, such as resolving outward to
fourths.

One that I'd like to experiment with is a JI version of what Ivor Darreg
found so interesting in 17TET: Resolving 9:7, which is could be thought
of as an unsettled version of a major third, outward to 7:5, which is a
very consonant tritone. That would then be more or less the reverse of
the traditional tritone resolution. One could then resolve that outward
to 5:3.

Clearly playing those pitches alone isn't all that difficult; the
interesting part is finding musically meaningful harmonic and contrapuntal
frameworks to realize it within.