Blue Fugue, for Organ in 50edo

"Blue Fugue" is a one-minute blues-flavoured four-part fugue for two organs by Claudi Meneghin in 50-edo (50 equal division of the octave). Septimal and undecimal (especially in the final stretto) harmonies are used.

Preludi Nocturn i Fuga sobre la Lluna la Pruna by Claudi Meneghin - [50edo]

Prelude, Nocturne, and Fugue for chamber ensemble on the Catalan Lullaby "La Lluna, la Pruna". Tuning is 50-equal division of the octave, close to Zarlino's meantone.

The Chromatic Deceptive Cadence in Just Intonation and Multiple Edo's

The Chromatic Deceptive Cadence in Just Intonation and Multiple Edo's. The Chromatic Deceptive Cadence is the chord progression C-A#-E-G to C#-G#-E#, where G#= 25/16 C and A# = 9/8 G#.

Septimal Enharmonic Passamezzo Cadence in Just Intonation & 17-, 34-, 51-edo

The classical passamezzo cadence, transformed into a septimal cadence, and tuned into just intonation and into the following equal divisions of the octave: 17, 34, 51.

Fugue from the Dragnet (2014) [50edo]

This is "Fugue from the Dragnet" (2014), a microtonal 5-part fugue, based on the theme from "The Dragnet", for Organ in 50-equal division of the octave (close to Zarlino meantone)

The 3-limit & 5-limit Deceptive Cadence in Just Intonation & Multiple edo's

The 3-limit & 5-limit Deceptive Cadence in Pythagorean, 5-limit Just Intonation, 12-edo, 17-edo, 19-edo, 26-edo, 29-edo, 31-edo, 37-edo, 39-edo, 41-edo, 43-edo, 46-edo, 50-edo, 53-edo, 55-edo, 56-edo.

Fantasia Catalana, for Chamber Ensemble [50edo]

A Fantasy for chamber ensemble in C subminor in 50-equal division of the octave (close to Zarlino meantone), made up by four movements: a short introitus, in the style of the Catalan 'Sardana'; a one-minute chaconne; a 3-in-1 canon over a ground bass and a six-part fugue. The latter incorporates fragments of a classical Catalan sardana ('La Santa Espina'). Septimal minor thirds and harmonic sevenths mostly characterise the tonality of this neobaroque piece. Also, the divisibility of 50 by 5 is exploited in the very structure of the canon: each part repeats, after four measures, the preceeding one two diatonic semitones higher (i.e. the fifth part of an octave in 50-edo); thus, the tonality of the canon raises of such an amount every four measures, coming back to subminor C every twenty ones. The same algebraic feature is used in an analogous way in one of the episodes of the fugue too, whereas the other expositions mainly use classical contrapuntal techniques. It is also used in the introductory chaconne.