I haue long time waited to heare this muſicke and make this video.
An aboſolutely wonderfull piece by Randall Thompſon that putteth ſome of the laſt woꝛds of king Dauid to muſicke. Theſe woꝛds are both inſtruction to the ſoon future rulers in Dauids day, but moꝛe ſo it is pꝛophecie concerning the future one thouſand yeere reign of the Meſſiah, Ieſus Chꝛiſt, in which Ieſus ſhall be the one who ſhall rule men in the feare of God and who will be as the light of the moꝛning, euen a moꝛning, without cloudes; as the tender graſſe ſpꝛinging out of the earth by cleare ſhining after raine.
This paſſage of ſcripture is from 2 Samuel 23:3-4 KJV, and in this video the ſpelling and punctuation is from the 1611 firſt edition pꝛinting.
Muſically ſomething faſcinating happeneth in this piece. Randall Thompſon, the compoſer from meaſure 17 onward miſſpelleth euery note and choꝛd foꝛ the remainder of the piece. He does this to pꝛeuent a ſlew of double and triple ſharps from needing to be wꝛitten in the ſcoꝛe and ſo the piece would end in the relatiue maior key of its ſtarting key of E minor.
Howeuer when tuning in True Intonation aka Pythagoꝛean tuning, one muſt ſpell notes and choꝛds coꝛectly foꝛ the muſicke to ſound iuſtly. As the choꝛus ſingeth "And he ſhall be a s the light of the moꝛning" iuſt after the woꝛd "moꝛning" thou wilt heare an F# maioꝛ choꝛd mouing to D# minoꝛ, a one maioꝛ choꝛd moouing to the minoꝛ ſix choꝛd. But in the oꝛiginal ſcoꝛe Thompſon wꝛote inſtead an Eb minor choꝛd, an augmented ſecond below the F# maioꝛ choꝛd. This augmented ſecond choꝛd root mouement ſoundeth really bad and is nonſenſical in context. A D# minoꝛ choꝛd was clearly intended and inferred by the ear when played in 12 tone equal temperament, the tuning in which the piece was conceiued.
Hearing this and ſeeing the ſcoꝛe ſpelled coꝛrectly foꝛ the firſt time addeth weight vnto the alreadie weighty woꝛds, foꝛ Dauids reign was not without ſinne on his part, but that one which shall come and reign, God him ſelfe, ſhall not only be mouing from Dauids E minor key to the relatiue G maior, as is heard in the 12 tet verſion, but an entire Pythagoꝛean comma higher in Ieſus' Fx maioꝛ.
Another faſcinating thing, Is that ſince this muſicke in this video is with A at 432 Hz, it iuſt ſo happeneth that the Fx in this piece in Pythagoꝛean 432 tuning, is almoſt the exact ſame frequency as G in A=440Hz 12 tet tuning. The Pythagorean 432 Fx is only about 3 cents off of the 12 tet 440 G. A rather ſtrange coincidence that I diſcouered while making this video.
This conuention of miſſpelling notes to auoid triple ſharps hath been done foꝛ a long time now, but I do not like it. There is nothing inherently vnſeemly about triple ſharps. But I doe think a unique ſymbol foꝛ them is needed,. In my next video I plan to ſhew this ſame piece again but only the piano part and the ſopꝛano line, becauſe in the piano part there are euen moꝛe triple ſharps that are off ſcreen in this video, and the modulation and ridiculous clutter of the triple ſharps on the page is ſomething faſcinating to ſee and analyze, eſpecially becauſe the muſicke ſoundeth ſo beautifull.
I doe beleeue I haue a better ſymbol foꝛ triple ſharp, but ſadly there is no way to currently implement it into the computer pꝛogram.
If thou doſt not know the Loꝛd Ieſus Chꝛiſt perſonally, if thou haſt not bene boꝛne againe by his Spirit accoꝛding to that which is wꝛitten in his woꝛd, the King James Bible, pleaſe look vp the below verses online, right now, and heed and do what is written.
1 Corinthians 15:1-8 KJV
Romans 10:2-13 KJV
Proverbs 30:4-6 KJV
John 14:6 KJV
John 14:22-24 KJV
John 17:17 KJV
Psalms 12:6-7 KJV
29 мар 2024
