Bach's Chaconne: is it smooth yet?

I've just posted what I think might be a very smooth retuning of
Bach's Chaconne in D minor on my web site:

http://www.idcomm.com/personal/jadl/

I'm using a new model with several improvements:

. Relaxation from strict vertical JI intervals when doing so reduces
total pain.

. Extra relaxation for 7ths in 5-limit tuning.

. Use of a "utonal" 5-limit tuning option so that half-diminished
tetrads contain a well-tuned (10:12:15) minor triad.

. Drift control on a note-by-note basis.

. Truly backward-looking in time symmetrically to forward.

The model is very tweakable, and I've just made a stab at some
reasonable coefficients. Drift control is very tight, interval control
is rather loose, and pitch slide control is perhaps a bit loose. All
can be modified for a different mix of tradeoffs. Another change would
adjust for those whose fine pitch memory is long-lasting.

This new model is capable of being wired to consider "horizontal tuning"
of intervals beyond the unisons now included, but I haven't yet done
that.

Is it smooth yet?

JdL

>Is it smooth yet?

While I wasn't one of the ones complaining about smoothness, I can say that
this version is noticably smoother than the original, and noticably more
consonant than the half-tuned method of a few weeks back.

-Carl

>I've just posted what I think might be a very smooth retuning of
>Bach's Chaconne in D minor on my web site:

I listened to the 5-limit version, and I loved the first 2 minutes! The
small drifts sounds very musical now. Then, at 2:44-46, the top voice goes
up by what sounds like quartertones. What's happening there?

This piece was originally written for solo violin. Who did this arrangement?
Busoni did one; is it his? I'm still interested in the possible septimal
augmented sixth chords as in Ken Wauchope's rendition.

[I wrote:]
>>I've just posted what I think might be a very smooth retuning of
>>Bach's Chaconne in D minor on my web site:
>>
>> http://www.idcomm.com/personal/jadl/

[Paul E, TD 493.19:]
>I listened to the 5-limit version, and I loved the first 2 minutes! The
>small drifts sounds very musical now. Then, at 2:44-46, the top voice
>goes up by what sounds like quartertones. What's happening there?

Paul, you are either blessed or cursed: your ear identifies and
magnifies shifts. A quartertone would be 50 cents, yes? The actual
shift at this point is more like 20 cents, but that's fairly high, no
doubt! In analyzing what's happening, I find that the program might be
adjusted in several ways:

. The melody (highest) voice should ideally be marked with greater
effective loudness, since it stands out. That'll be a fairly big
change to my existing program, which distills everything into
"pitch12's" without octave information as a very early step in the
processing.

. I'm giving "credit", the equivalent of volume reduction, because
several notes start at the later moment (2:45.436, to be exact),
and therefore am relaxing the spring that joins the melody note
(F#) across time. Perhaps that credit should be revoked or at
least reduced.

. In general, as you've suggested, it may be desirable not to give
as much pain reduction to quiet notes as I'm now giving; if they're
audible, they need good consideration.

. It may be good, again as you've suggested, to rank pain of retuning
motion non-linearly.

Thanks for your feedback! I'm both sorry and glad that your ears are
so sensitive. But, if I can please you, maybe the rest of the world won't
be far behind!??

JdL