"Alle, psallite cum luya" from the Montpellier Codex

Hey all,

Since there was a positive response from the "Le Greygnour Bien", I decided to
do another medieval piece, this time, an anonymous author, a lovely little
dance.

http://www.akjmusic.com/audio/alle.ogg

This one again really showcases the fantastic "Early Patches":
(http://www.sumerauer.de/early_patches/dokumentation/english/index2.htm).
The soundfont patches used were 2 Nyckelharpa (a bowed string instrument), a
Glockenspiel, Kortholt (a nasal reed instrument), Kobliczek recorder,
Hammered dulcimer, & Kettle Drum.

The tuning is a 12-note linear temperament related to Peppermint very closely,
but not quite. The fifth size is (56/11)^(1/4), so that four fifth give a
pure 14/11. This suits Medieval music quite well, as Margo Schulter is quite
keen in observing.

Enjoy!

-Aaron

--- In MakeMicroMusic@yahoogroups.com, Aaron Krister Johnson
<aaron@...> wrote:

> The tuning is a 12-note linear temperament related to Peppermint
very closely,
> but not quite. The fifth size is (56/11)^(1/4), so that four fifth
give a
> pure 14/11. This suits Medieval music quite well, as Margo Schulter
is quite
> keen in observing.

This tuning is so close to 46-et (seven times closer than 31 is to 1/4
comma meantone) that I'm tempted just to identify the two for the
purposes of a prospective 46-et article. But as a favor, could you
also do a version of this in 46?

Does anyone know of a Medieval piece which uses a lot of thirds and
sixths (aside form Ichumen, that is.)

--- In MakeMicroMusic@yahoogroups.com, "Gene Ward Smith"
<genewardsmith@...> wrote:
>
> --- In MakeMicroMusic@yahoogroups.com, Aaron Krister Johnson
> <aaron@> wrote:
>
> > The tuning is a 12-note linear temperament related to Peppermint
> very closely,
> > but not quite. The fifth size is (56/11)^(1/4), so that four fifth
> give a
> > pure 14/11. This suits Medieval music quite well, as Margo Schulter
> is quite
> > keen in observing.
>
> This tuning is so close to 46-et (seven times closer than 31 is to 1/4
> comma meantone) that I'm tempted just to identify the two for the
> purposes of a prospective 46-et article. But as a favor, could you
> also do a version of this in 46?

I could, but would anyone be able to *hear* the difference?

I'd have to wait until next week, for sure...

> Does anyone know of a Medieval piece which uses a lot of thirds and
> sixths (aside form Ichumen, that is.)

Margo would know. Generally, the English used the 5 limit earlier than
continental composers....Dufay for instance imitated Dunstable.

But you're not neccessarily talking abou the 5 limit, are you?

-Aaron.

--- In MakeMicroMusic@yahoogroups.com, "Aaron Krister Johnson"
<aaron@...> wrote:

> Margo would know. Generally, the English used the 5 limit earlier than
> continental composers....Dufay for instance imitated Dunstable.
>
> But you're not neccessarily talking abou the 5 limit, are you?

No, and in fact Dunstaple who lingered lovingly over his thirds in a
way which suggests they were being sung with more or less pure thirds
won't do at all. The English, as you say, seem to have gotten into the
5-limit game rather early. I meant something which treats the thirds
and sixths as dissonances, but in which they are prominant.