tuning crib

>I created a tuning crib for each of the singers using Finale to create the
>MIDI file, MIDI2CS to convert this to Csound, Manuel's Scala to work out
the >tuning ratios and a bit of editing to tune all pitches using John
Fitch's >Csound opcode cps2pch following some examples given by Bill Alves.
(Thanks, >guys, you've probably forgotten by now, but don't worry it was a
couple of >years ago).

Could you explain a little more what you mean by "tuning crib"? If you
mean what I think you mean, this is a very interesting thing to do, and in
fact Graham Breed and I have been discussing it privately as regards a
possible future version of his Midi Relay software.

Carl

Subject: tuning crib

>>I created a tuning crib for each of the singers using Finale to create the
>>MIDI file, MIDI2CS to convert this to Csound, Manuel's Scala to work out the
>>tuning ratios and a bit of editing to tune all pitches using John Fitch's
>>Csound opcode cps2pch following some examples given by Bill Alves. (Thanks, >>guys, you've
probably forgotten by now, but don't worry it was a couple of
>>years ago).

>Could you explain a little more what you mean by "tuning crib"?

It was audio version of a score with the notes tuned to the exact pitch I expected the singers to
sing (ie. Finale > MIDI > Csound with pitch values tweaked). The tuning crib would allow each
singer to hear their own part played on a more nasal instrument and hear it simultaneously with
the rest of the ensemble played on sine-tones. Its function was to teach them their cues and at
the same time provide them with a working model of the desired pitches during rehearsals. I did
this because I felt that an audio example is a more adequate way to convey my intentions than any
new system of notation. I supplied each singer with their own tape but in future plan to provide
a CD inside the back cover of the score.

The CD will also contain a pronunciation of the Sanskrit text which I've used and which comes
from a Catholic liturgy developed by a Benedictine monk Dom Bede Griffiths at an ashram in south
India. I've called the piece 'Vedic Mass'. For Griffiths, truth was to be found in the meeting of
opposites, the masculine and the feminine, the rational and the intuitive, the east and the west.
The 7-limit tonality diamond with its meeting of chords major and minor became a musical
manifestation of this idea.