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Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Seriously: If you value it, take/fetch it yourself
Phil I think you will have used 1/4 comma for your aeolian piece. It’s a fascinating tuning system and really clever if you know what it is and how it works.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Seriously: If you value it, take/fetch it yourself
http://i.imgur.com/703V5s7.jpg
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Pythagorean
Meantone
Werckmeister III
Equal Temperament (flat)
but default is
"When a piano sound is selected, the tuning will be stretched like an
9/8 or 10/9 for a tone,
6/5 for a minor 3rd
5/4 major 3rd
4/3 perfect 4th
3/2 for a perfect 5th.
8/5 for a major 6th
either 16/9 for a 7th or 9/5
you probably have to select the key, or it will do it all off 440 hz or 261 hz.
The werckmeister and Meantone systems are “well-tempered systems”, in other words they are not as fanatical and inflexible as Just Intonation, they have some compromises but still have the occasional Just Interva. I’m pretty sure ‘Meantone’ in this case will most likely mean quarter-comma meantone, where 4 stacked 5ths are tempered to be the same as a pure major 3rd and 2 octaves (5/4 x 2 x 2 = 5. Instead of 3/2 ^ 4 = 81/16 so the 81/16 is tempered down to 80/16. The error difference (1/80) is called the comma, which is quartered and distributed over the four 5ths. The way you tune a piano to quarter comma is quite amazing.
Equal temperament (stretched) will be 12-TET (each semitone is 1.059 x the one below, like the distance between frets on a fretboard - except that’s 1/1.059)
the equal temperament (flat) - I’m not really sure what that means.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Anyway I bet it sounds nice, especially 1/4 meantone on harpsichord or organ setting.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
I just read about Inharmonicity (is that an album title?), which was news to me, and affects guitars: https://en.wikipedia.org/wiki/Inharmonicity
Also: mode locking
Wow, there is a huge amount of stuff down this rabbit hole, e.g. https://en.wikipedia.org/wiki/Xenharmonic_music
Absolutely, it’s very cool stuff. Inharmonics is why you can’t rely on guitar tuners, apart from tuning one of the strings to an absolute pitch (if you don’t have perfect pitch). It’s much better imo, if you’ve got good relative pitch, to use your ear and try the method of getting your top string right, then getting the B string by fretting it at the 5th fret (not using harmonics); then fretting the G string at the 9th fret, always comparing to the top E. That way you take 12-TET and inharmonics into account.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Conventional piano tuning is "stretched" as it gets sharper up the dusty end, and flatter down the bass end.
I think the theory behind this is to minimize beat notes with overtones from the strings.
Interestingly I've seen several people tuning a piano, and none of them used a reference pitch, but tuned by ear.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
that's why my piano switches off the stretch when you layer it with strings or whatever
I suppose a piano in a band should also avoid stretched tuning for the same reason?
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
I expect a lot of the tonality of various instruments is down to the compromises in tuning.
Interestingly I play in a band where the piano player has perfect pitch and says he can hear the differences in tuning across the keyboard.
Oh absolutely. I’m sure he (indeed any musician) can hear the differences between temperaments on a keyboard - the intervals sound massively different. That’s why the well-tempered clavier is so brilliant when played on a 1/4 comma meantone instrument, because the flavours of each key are so distinctive. (Check out Schubart’s writings on it - if anyone’s interested)
However I wonder whether others with PP can hear the difference between middle C’s 12-TET 261.6, the Just 264 and the 1/4 comma’s 263.2 when C is played in isolation. I certainly can’t.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Presumably there are different levels of perfect pitch, in so far as the absolute accuracy of pitch determination.
To recognize individual notes wouldn't actually require that level of accuracy compared to being able to tell the difference between C 262.6 and C 264.
A friend of mine can hear the difference between A440 and A443, which is what many european orchestras tune to with no external reference.
Stevie Wonder, who has perfect pitch, also tunes to A443.
Another friend of mine was playing guitar with an artist who was recording with the Metropole Orchestra. They tune to A443, and the conductor (who was the youngest conductor of a major orchestra in Europe), has perfect pitch, but recognizes A443.
Interestingly my friend, who has an excellent ear and can tune the top string of his guitar to E by ear but does not perfect pitch, after a week of recording at A443 then adjusted and with no external reference would tune his top E sharper to A443.