Відео

Well, you might like my Handel Variations instead 😎ua-cam.com/video/-8bokTDxw4k/v-deo.html

Really ? 🙂

Thank you 😀 Yes definitely, 43, 12, and a couple of well-temperaments are on the way 🙂

Dunno, with such a sharp major third... but it's true, it does 😉

Thank you so much 😀 Yes, all 19 notes are definitely needed to pley the Suite, so that an isomorphic keyboard might be the best choice. Nevertheless, you can play it in a well-tempered system, or even in 12-edo, even if loosing a bit of its character (especially at the beginning of the second part of the Courante, where you have the two 19-edo tritones in succession). On the contrary, 12 out of 19edo won't work. Anyway, I'm setting up a blog post with the score of the whole suite 🙂

Here's the score: www.meantone.org/2024/06/my-negri-suite-allemande-courante.html 🙂

​@@ClaudiMeneghin you have a website? 🤯

@@romeolz Yes, I have one: www.meantone.org - still not in its final form 😉

Thank you so much 😀 here's the whole suite: ua-cam.com/video/N9ba-AX7sWg/v-deo.html

Yes to all 🙂«Just Intonation» is an umbrella term to mean every kind of intonations based on low-integer ratios. In this case, for instance the seventh has been concretely implemented as 9/5, 16/9, 7/4. They're all just, but of course fairly different.

@@ClaudiMeneghin I see, I really appreciate that you took the time to answer my question, thank you!

It's a standard jazz progression: en.wikipedia.org/wiki/Backdoor_progression - if I have understood your question correctly.

@@ClaudiMeneghin There is no way an f# minor scale is the root 😭

​@@LarkeyFactorial should work all in all: B-F#-A-D E-F#-G#-B-D F#-E#G#A-C# 🙂

@claudimeneghin found it, it's Dm7 G9 Amaj9

@@LarkeyFactorial Yes, that's it ! I hadn't understood you were looking for chord names, I would have replied at once 🙂

Thank you so much 😀E19 is a very good choice... you might like this organ fugue of mine as well: ua-cam.com/video/pDL0nWibhCY/v-deo.html , it's in 19-edo (as Sensi). Also, I'm finishing a Suite in 19-edo as Negri ( named after John Negri's «The Nineteen-Tone System as Ten Plus Nine». Interval, Journal of Music Research and Development, pp. 11-13 of Volume 5, Number 3 Winter 1986-1987), here's a sneak preview, the final Gigue: ua-cam.com/users/shorts1MavN9QHpag

Well... it's 15-edo after all, one has to get accustomed to it (suggestion: listen to it a few times). Anyway there's a well tempered available too : ua-cam.com/video/xdXENZKd6PA/v-deo.html 😉

@@ClaudiMeneghin I know, but it sounds like the musicians started playing right after they went high on Borax instead of cocaine.

@@railfanmusicboi Urgh, very imaginific 😉

@@ClaudiMeneghin Well you could remove the cornet and replace it with a soprano sax so it sounds better.

@@railfanmusicboi Well, I can recall I used a soprano sax ideed in a similar framework...but not exactly where.

Many thanks to you for your interest and appreciation 🙂

Meanwhile.... here's a Fugue for organ in 19-edo (as «Sensi»)😉: ua-cam.com/video/pDL0nWibhCY/v-deo.html

More tunings of this piece are on the way ! For sure 31, but also 12, 53, Rameau, Weckmeister 3, Vallotti-Young 🙂

Sorry you didn't like it... more tunings are forthcoming 🙂

Part of it's the tuning, but I think a huge part of it is the inherently uncanny nature of MIDI timbres.

Well, I can recall that this short is relatively recent, but the video it was extracted from was from a few years ago... that being said, it seems to me that in that period I liked comparing tritone with the 11-th harmonic... 🙂

19-equal division of the octave; by a practical point of view, it coincides with third-comma meantone (pure minor third divided into three fourths) 🙂

Thanks a lot 🙂Looks like I haven't well-tempered it yet 😉Undoubtedly, that's worth a try ; I can't do that immediately, though...

Here's a well-tempered version, featuring Werckmeister 3 and Vallotti - Young 🙂ua-cam.com/users/shortsfEc9fWSqQMU

Basic research 🙂

Yet, I'm afraid I don't fully understand «don't match the meantone tuning»: did you mean meantone is not fine for this piece ?

Thank you for your appreciation ! As to your question, well, I rather think it sounds globally better in E31🙂 I don't think it's matter of specific moments, anyway...

@@ClaudiMeneghin Okay, then what is the advantage of the E55 system? ? Which songs might sound better? Any examples?

@@pavelbatalov657 Well, a possible advantage of E55 is that you can (probably 😉) use 12 tones out of it without worrying too much about wolf fifths: they'll be as large as 720 ¢, hence still usable. Mozart probably used E55... hence Mozart should be fine in that tuning.

@@ClaudiMeneghin Fifth 720 cents is not good sound. It's almost a wolf. Where did you get the idea that Mozart used the E55 system?

Well 720 could be fine as well, listen for instance to my Tocada for two organs in 15-edo: ua-cam.com/video/7_lJ6oVs6Yo/v-deo.html 😎 As to Mozart using 55-edo (or, almost equivalently, sixth-comma meantone), this point is made in John Chesnut: "Mozart's teaching of intonation", Journal of the American Musicological Society vol. 30 no. 2, summer 1977, pp. 254-271: "Leopold Mozart refers to Tosi in general terms as an authoritative source in a letter to Wolfgang from Salzburg dated June 11, 1778. Tosi, in 1723, considered the correct tuning system to be what we would today call a form of regular meantone temperament with more than twelve notes to the octave, or what we might call for short 'extended regular meantone temperament'. He says that this temperament should be employed by bowed instruments. Tosi does not tell us specifically what tuning one would expect to find on the keyboard instruments of his time, but only that they are not capable of playing more than twelve notes to the octave without split keys. . . . according to Tosi, the large diatonic half step is theoretically equal to five ninths of a whole step, and the small chromatic half step is theoretically four-ninths of a whole step. Tosi thereby divides the octave into fifty-five equal parts. This is equivalent to tempering the perfect fifth by approximately one-sixth of a 'comma,' [footnote explains that this is approximately correct with regard to either Tosi's comma (=1/55 octave), the syntonic comma, or the pythagorean comma] . . . Many other divisions were considered in the eighteenth century, as were irregular keyboard tuning systems that do not divide the octave into a multitude of equal parts, but the fifty-five-part division had prominent adherents. Georg Andreas Sorge, in particular, attributed it to Telemann, explaining that in its complete state it could not be used on the clavier; but it might be applied to the violin and to certain wind instruments and was easiest for singers. In its incomplete state, Sorge attributed the fifty-five-part division to the organ builder, Gottfried Silbermann. According to Mark Lindley, Sauveur and his editor Fontanelle, writing ca. 1700, described the 1/6-comma temperament as that most favored by musicians in general, as distinguished from keyboard musicians in particular, some of whom tuned differently. The 1/6-comma temperament is the one implied by Türk's statement of 1791, previously cited from Boyden, that sharps are a 'comma' lower than the equivalent flats; it also seems to be the most common basis fro the irregular temperaments described by Barbour in _Tuning and Temperament_.

Yes I do 😎 I wrote a few fugues in Mavila: ua-cam.com/video/RbgNfV3gHR8/v-deo.html ua-cam.com/video/Pqg-N44bjgA/v-deo.html ua-cam.com/video/vIWxP_C0aUM/v-deo.html Also, one of my Variations on Handel's harmonious blacksmith theme is in 16-edo: ua-cam.com/users/shortsI4-URAGgQMQ Abyway, I wouldn't suggest to play Bruhns' Prelude in Mavila.

oh, thank you ! @@ClaudiMeneghin

That's a good idea 😉

Thank you your interest and appreciation 😀 ! I've planned a tutorial, but lack of spare time delays that... In synthesis, I use the following free prorgams: 1) Huygens Fokker Scala to tune files (see below which ones); 2) SynthFont (in combination with soundfonts) to play the files tuned by Scala; The files in 1) are text files essentially representing pitches and durations. I set them up by means of an electronic spreadsheet :) Here's a link to Huygens Fokker Scala: www.huygens-fokker.org/scala/ The underlying logic is definitely an "abc" one, rather than WYSIWYG. You could be interested in Csound as well: csound.com/ 🙂

😉

see Sevish - Droplet

Thank you for your appreciation ! 🙂Vicentino's system ends at the same pitch, in fact it was conceived to avoid JI pitch drift. The ground of the system is quarter-comma meantone (which isn't a drifting system), then minor thirds and fifths are adjusted locally.

Prescription by the author of the tuning 😉It's similar to some just-intonation frameworks...

22edo, that's it 🙂

@@ClaudiMeneghin I thought so! On my UA-cam channel there’s a performance I have of Juhani Nuorvala’s 22edo Orwell[9] Dies Irae.

😉

Thank you so much 😀 As to middle C, I set it to 266.43 Hz, which seems comparable to your figure 🙂 As a rule for the other versions, I set E = 333.88 Hz, then defined middle C to be four fifths lower (plus two octaves), according to the fifth of each tuning. So, E stays fixed, C varies.

For sure; it’s the first edo to be consistent to 11-odd-limit!

I know whats 11 limit but why do you need to say odd ?

and what is consistency?

@@originalname7176 Simply put, the 11-odd-limit contains the set of all JI intervals where neither the numerator nor the denominator of the frequency ratio exceeds 11 once all powers of 2 are removed. Octave transpositions are also considered part of an odd-limit. For example, the JI ratio 20/11 (the inverse of this ratio is 11/10 so it counts) is part of the 11-odd-limit (and the regular 11-limit). The consistency of an EDO is how well it represents some odd-limit to where the closest approximations of the odd harmonics in that odd-limit also give the closest approximations of all the differences between these odd harmonics. For example, if an EDO has approximations of 5/4 and 7/4 and you take that interval between them, it is also the closest 7/5 interval that the EDO has.