Yahoo Tuning Groups Ultimate Backup tuning Update on Linus Tuning

Hi All,
Sorry I have not been active on the list, but this is my latest update.After many years, my perceived "half tone" has progressively grown much smaller than I first thought it was some thirty years ago. The octave remains the same, 81/40.
Please listen to my demo on Youtube.
Regards,Linus
Mendelssohn violin piece played with violin tuned (Hz):E : 669.00; A : 446.00; D : 293.66; G : 195.778Some violinists are seen tuning up their G-strings in a concert, I am doing the exact opposite. The "standard" violin tuning (exact 3/2 P5's) is E 660, A 440, D 293.33, G 195.56. Each string down is 1.96 cent against the "ET" scale. Violinists do this to compensate for the 1.96 x 2 cent error against a supposedly 2:1 ocatve, ET piano.In the 80's I proposed the 81:40, 1221.5 cent octave which I named "Stretch Octave". It has subsequently been proven scientifically (1) that the music octave as perceived by the listener is about 1220 cent. Here I postulate the reason why the octave is 1221.5 cent : consider the whole tone as 9:8 (as the "Pythagoras Scale"). Stack six of these together, and it makes 1,223 cents - complies with the finds of the scientists (about 20 cents bigger than the 2:1 octave). Apparently, the ear likes to construct the octave according to the size of this 9:8 interval.I therefore call this tuning system "Pseudo-Equal".Re "Quantum" intonation" - in contrast to "Pure" intonation. I noticed that the ear is actually also sensitive to complication ratios, contrast to the old belief that ratios need to be "simple". Therefore ratios which are "relevant" in music are just numerous. This recording is a example to illustrate this "fact"."Stretched" music "needs" an "ET" accompaniment. Instead of contradiction, the "Stretch" scale consists the 4/3 tetrachord, which agrees with ET (with small error). Because of the small size of the "half-tone", the lower note in the "half-tone" step sounds a tiny "sharp", the upper one a little "flat". This is how the "sensation" in music comes about, or how the "leading note" gets "resolved". In the very last double stop of this piece are the two notes, F# on high position, against an open D (presently, 293.66), a terrifying endeavour theoretically impossible to be in tune. The old school says the F# is 734.16 Hz (pure, under a 446A, 293.66 x 5 / 2), otherwise, 740 Hz (ET). Present recording plays F# at 743.34 Hz with an not-so-simple ratio of 9/8 * 9/8 * 81/40. Notice in particular, the double stop immediately prior plays this same F# with the D a "Stretched Octave" higher than the open D (interval = 9/8 * 9/8), Both these intervals sound "pure". The postulate is, any interval any multiples of the syntonic comma, 81/80, sounds pure or significant. In short, any interval which sounds in tune are, by default, significant. Hence this name "Quantum".The note D tuned at 193.66 is an attempt to render this last note same as the D on the ET,440 piano. A at 446 adapts the tuning to the "Stretched" environment.(1) OCTAVE DISCRIMINATION: TEMPORAL AND CONTEXTUAL EFFECTS Lola L. Cuddy and Peter A. Dobbins, 1988

"TUNING@yahoogroups.com" <TUNING@yahoogroups.com> 於 2016年01月20日 (週三) 5:10 PM 寫道﹕

Welcome to the Alternate Tunings Mailing List. Welcome to the Alternate Tunings Mailing List. Group
1 Message
Digest #8116 1a Re: The graphical guide to tunings -a new blog by gunnnar.tungland
Message

Re: The graphical guide to tunings -a new blog

Tue Jan 19, 2016 9:46 am (PST) . Posted by:

gunnnar.tungland
Hello again, Gavin

Thanks for your positive feedback!
If you have any wish to get some tunings visualized, calculated in mil, then you can just tell me, I will do it. (within reasonable limits :)
Regards, Gunnar

Reply to sender . Reply to group . Reply via Web Post . All Messages (7) . Top ^ You can configure your subscription by sending an empty email to one
of these addresses (from the address at which you receive the list):
TUNING-subscribe@yahoogroups.com - join the TUNING group.
TUNING-unsubscribe@yahoogroups.com - leave the group.
TUNING-nomail@yahoogroups.com - turn off mail from the group.
TUNING-digest@yahoogroups.com - set group to send daily digests.
TUNING-normal@yahoogroups.com - set group to send individual emails.
TUNING-help@yahoogroups.com - receive general help information.
Visit Your Group
• Privacy • Unsubscribe • Terms of Use

Sorry for some big typo,

>Present recording plays F# at 743.34 Hz with an not-so-simple ratio of 9/8 * 9/8 * 81/40. Notice in particular, the double stop immediately prior plays this same F# with the D a "Stretched Octave" higher than the open D (interval = 9/8 * 9/8), Both these intervals sound "pure".<

Should be

>Present recording plays F# at 743.34 Hz with an not-so-simple ratio of 9/8 * 9/8 * 2 (against 293.66 Hz). Notice in particular, the double stop immediately prior plays this same F# with the D a regular "Octave" higher than the open D (interval = 9/8 * 10/9), Both these intervals sound "pure".<

I confess I neglected to check this was so until just now. This is not so straight forward as just putting in whatever interval any "rule" that exists. Just beats before, the F# was as high as 752.63 Hz, but the falling pattern causes the intonation to fall towards the ending. That should be why the end feels kind of "settling down". For sure the music will not sound right if the intonations are wrong, but errors in the calculations can go un-noticed, especially when I only pick up this hobby for just few moments between long lapse of weeks, months or sometimes, years.

There is probably still a long way before anyone can "figure out" the intonation from any "rule", "formula", "pattern", whatever. What I can for sure say is, there is a long way trying to figure how how the ear, the mind, the heart functions to somehow "feel" a note is in "correct" intonation, but one thing is for sure. Intonation must be forever changing throughout any piece of music that makes music what it is.

Rgds,
Linus

Update on Linus Tuning

🔗Linus Liu <cflliu@...>

🔗cflliu@...