I've always thought that 31 equal is much more friendly to people used to 12 than 19 is despite having so many more notes, simply because it sounds different enough from 12 that most trainex ears will notice, but it's not jarring like 19 can be. This definitely doesn't sound jarring like the 19 equal version. Could you do 43 equal and 12 equal versions as well?
Hell yeah! Very much like Bach bent into a different shape! This also sounds a little more realistic than other renderings you've posted. Do you need all 19 notes to play the suite? Im guessing no movements are playable with only 12 notes per octave? Sort of curious to try out a part on my harpsichord but imagine it would be pretty limited...
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 🙂
Sorry, I don't know much about this, but why are the last 3 all called 'Just Intonation'? Are they different types of Just Intonation? Does Just Intonation have much more than 12 notes to a scale?
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.
Awesome! Love it! I found this on the Microtonal Music and Theory Facebook group. I saw many of your other links too but skipped to this since I'm trying to learn 19EDO/19TET myself at the moment.
Thank you so much 😀E19 is a very good choice... you might like this organ fugue of mine as well: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pDL0nWibhCY.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: ru-vid.com1MavN9QHpag
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 : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xdXENZKd6PA.html 😉
You're back!! And with such a magnificent piece!! I love how at the end it seems to climb up in circles, like an eagle rising in the air. Many thanks for sharing! 😃
Finally, we get to hear a harpsichord suite in 1/3-comma meantone. This doesn't sound bad, after a bit of getting used to. Though, 19 equal can sound very jarring to Western ears accustomed to 12 equal, and requires some care when composing for it or playing in it. I personally think that, in the future, 31 equal would be more likely to go mainstream in Western music (basically a resurgence of quarter-comma meantone), and 19 would play second fiddle in comparison.
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... 🙂
Not bad, but could you please indicate the place, or rather the moment in this prelude, that sounds significantly better in the E55 tuning than in the E31 tuning?
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...
@@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.
Well 720 could be fine as well, listen for instance to my Tocada for two organs in 15-edo: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7_lJ6oVs6Yo.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: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-RbgNfV3gHR8.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Pqg-N44bjgA.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-vIWxP_C0aUM.html Also, one of my Variations on Handel's harmonious blacksmith theme is in 16-edo: ru-vid.comI4-URAGgQMQ Abyway, I wouldn't suggest to play Bruhns' Prelude in Mavila.
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/ 🙂
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.
