My narrative meant to accompany the four music files whose links I posted in Tuning Digest 7859

MY NARRATIVE MEANT TO GO WITH THE FOUR FILES:

I'm sending four Dropbox music files - a sample of my recordings which I hope to distribute. The best listening conditions by far, I believe are when one listens stereo with the left and right speakers at approximately the same level.

#1 voice synthesis with an 8 part phrase where the upper two voices alone sound first, then the upper three voices, then the upper four voices, then the full 8 voices. The music is in 6 limit just intonation. I believe there is a big change in depth and power of the music at the point where two voices are followed by the version with the upper three voices.

#2 brief mainly three part voice synthesis composition having the intention of illustrating the 7-9-11 chord and how the 11-ratio harmony affects the character, the feel of the music

#3 Two contrasting same score piano versions of "I'm going to take a sentimental journey", first with the piano in 12-EQT, then with the piano in quarter comma mean tone temperament. That temperament has two nearly just harmonic 7th chords, and in the example, the chord on which the word "Sentimental.." begins is a harmonic seventh chord. The differently tuned versions are sounded twice.

#4 The hymn "St Theodulph" is played on the piano tuned with chords on six of the 12 root notes just - all the triads played in the piece (with a possible exception) are just. Only a very limited number of pieces can be played with the piano tuned to "just intonation" The quarter comma mean tone temperament, which has 8 "good" major triads and 8 "good" minor triads, plus the two harmonic 7th chords enables a great deal of interesting music with much variety to be played, and it was used on pianos in the United States up until late in the 19th century (until 1846) in England.

It is my hope to distribute my recordings to a number of music lovers interested in hearing effects of different tunings - voice, piano, and other instruments.

I would very much welcome your comments and observations regarding these examples. I have something like 50 or so more recordings exploring non-12 tunings.

Dave Hill, Borrego Springs, CA

END OF MY NARRATIVE