PICTURES AT AN EXHIBITION - LIMOGES, LE MARCHÉ (Golden WT, Fortepiano)

 

We present Mussorgsky's Limoges, le Marché from Pictures at an Exhibition, tuned into the so called «Golden Well Temperament» and played at the Fortepiano. Fortepiano Synthesis: Baroque Instruments Fortepiano + FluidGM Yamaha Grand Piano + Harpischord Zell I-4 at -18 dB. «Golden Well Temperament» («GWT», or «Golden WT») is a 12-note temperament based on the Golden Ratio φ, in that the deviations of consecutive fifths in GWT from 12-edo’s are in ratio ±φ. More precisely, deviations from 700¢ on the circle of fifths are: -1, -φ, -φ^2, -φ^3, φ^2, φ, 1, φ^-1, φ^-2, φ^-1, 1, φ (which, due to the algebraic properties of φ, sum up to 0).. The cent figures of GWT are: 95.764 197.382 296.764 390.528 498.382 594.764 699.000 796.382 894.764 997.382 1093.146 1200.000.

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PICTURES AT AN EXHIBITION - GNOMUS (E19, Harpsichord Zell)

We present «Gnomus» from Mussorgsky's «Pictures at an Exhibition», arranged for Harpsichord and tuned into 19-equal division of the octave (very close to 1/3-comma meantone).

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[TUNING COMPARISON] a fragment from PARADIES' TOCCATA, 12-edo vs Meantone vs Just Intonation

 A short tuning comparison among 12-equal temperament, quarter-comma meantone, Vicentino's adaptive just intonation, by means of a fragment from Paradies' Toccata, tuned into:

1) 12edo (yellow screen); 2) Quarter-comma meantone (green screen); 3) Vicentino's adaptive just intonation (blue screen). Vicentino's adaptive just intonation is implemented by setting up two chains of quarter-comma fifths at a distance of a quarter-comma; this allows to tune the overall piece into quarter-comma meantone and to raise fifths and minor thirds by a quarter comma, which turns them into the corresponding just intervals. ⦿ More 12-edo vs Meantone vs Just Intonation: https://www.youtube.com/watch?v=GcF2CIG93tI&list=PLC6ZSKWKnVz0CRLFDVovKs7oTKRL51IR_ ⦿ More Tuning Comparisons: https://www.youtube.com/playlist?list=PLC6ZSKWKnVz0CeBpZLMBbjouT9X-xfbXW

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Tuning Comparison: E12, E17, E19, E29, E31, E41, E43, E53, E55 - fragment from Grieg's Morning Mood

We propose a tuning comparison by means of a fragment from Grieg's Morning Mood, featuring the following tuning systems: • 12edo (close to Pythagorean or to 1/11-comma meantone) • 17edo (close to 2-schisma Supra-Pythagorean) • 19edo (close to 1/3-comma meantone) • 29edo (close to 3/4-schisma Supra-Pythagorean) • 31edo (close to 1/4-comma meantone) • 41edo (close to 1/4-schisma Supra-Pythagorean) • 43edo (close to 1/5-comma meantone) • 53edo (very close to Pythagorean) • 55edo (close to 1/6-comma meantone) ⦿ More Tuning Comparisons: https://www.youtube.com/playlist?list=PLC6ZSKWKnVz0CeBpZLMBbjouT9X-xfbXW

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BACH - RICERCAR a 3 from the Musical Offering - Rameau's Tempérament Ordinaire

 

We present Bach's Ricercar a 3 from the Musical Offering, tuned into Rameau's Tempérament Ordinaire, a circulating temperament generated by 7 meantone fifths (as large as 696.578 ¢), 3 pythagorean fifths (as large as 701.955 ¢), and 2 sharp fifths (as large as 709.045 ¢), then rounded to integer values.

The cent figures of the tuning (with C set to 0) are:

0 ¢

87 ¢

193 ¢

298 ¢

386 ¢

503 ¢

585 ¢

697 ¢

789 ¢

890 ¢

1007 ¢

1083 ¢

Midi rendition, soundfont is «Harpischord Zell». Tuned by Huygens Fokker Scala, implemented by SynthFont.

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BACH - RICERCAR a 3 from the Musical Offering, tuned into E53

We present Bach's Ricercar a 3 from the Musical Offering, tuned into 53-equal division of the octave, very close to Pythagorean.

Midi rendition; soundfont is «Harpischord Zell». Tuned by Huygens Fokker Scala, implemented by SynthFont. ⦿ More Ricercar a 3: https://www.youtube.com/playlist?list=PLC6ZSKWKnVz1BTgOx6r8sOUawQpNqV86_ ⦿ More 53-edo videos: https://www.youtube.com/playlist?list=PLC6ZSKWKnVz00YKEYx98frli5JE5orfyk ⦿ More Bach's Musical Offering: https://www.youtube.com/playlist?list=PLC6ZSKWKnVz0toNK4hUr1ULAOBhvcsSMs

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BACH - CHACONNE BWV 1004 - Claudi Meneghin, Guitar

We present Bach's CHACONNE from Partita for solo violin no. 2 in D minor BWV 1004 (transposed into G, and played at baroque pitch), arranged and played at the guitar by Claudi Meneghin.

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