mozart other way round

... I set myself the challenge to compose something "Mozartish" that
would end up a comma _higher_ than it started, if played with
consonant JI intervals (and no sudden pitch shifts).

So:
/tuning/files/sphaerenklang/mozcomma2.pdf

JI or any other versions gladly received ... but preferably by audible
means!
~~~T~~~

--- In tuning@yahoogroups.com, "Tom Dent" <stringph@...> wrote:

> So:
>
/tuning/files/sphaerenklang/mozcomma2.pdf
>
> JI or any other versions gladly received ...
> but preferably by audible means!

Hi Tom,
how about to accompany yours nice
neo-'Mozartish' melody with an

http://en.wikipedia.org/wiki/Alberti_bass
or at least by somehow broken
http://en.wikipedia.org/wiki/Arpeggio

instead of simlpy stacking three-ply overburden chords?

bye
A.S.

Tom Dent wrote:
> ... I set myself the challenge to compose something "Mozartish" that
> would end up a comma _higher_ than it started, if played with
> consonant JI intervals (and no sudden pitch shifts).
> > So:
> /tuning/files/sphaerenklang/mozcomma2.pdf
> > JI or any other versions gladly received ... but preferably by audible
> means!

Here's a 5-limit JI version.
/tuning/files/reverse-comma.mp3

>
> ... I set myself the challenge to compose something "Mozartish" that
> would end up a comma _higher_ than it started, if played with
> consonant JI intervals (and no sudden pitch shifts).
>
> So:
>
> /tuning/files/sphaerenklang/mozcomma2.pdf
>
> JI or any other versions gladly received ... but preferably by audible
> means!
>

I'll be happy to make a JI version, audible midi (scala retuning turned out
to be easy :)

But If you wrote what you call "sudden pitch shift" I will still write it as
it's correct JI.
When you hold a note in 12tet and modulate this note can get a new meaning
so is actually a new note even though you made it thesame note in 12tet.
12tet tempers out for instance the syntonic comma so a held 12tet note can
actually be 2 or more JI notes simply because the 12tet note shifts during
holding that one from one meaning to another enharmonically equivalent
meaning.

Marcel

>
> Here's a 5-limit JI version.
> /tuning/files/reverse-comma.mp3
>

Sorry but it sounds wrong to me in several places.

Marcel

--- In tuning@yahoogroups.com, Herman Miller <hmiller@...> wrote:
>
> >
/tuning/files/sphaerenklang/mozcomma2.pdf
> >
> > JI or any other versions gladly received ... but preferably by audible
> > means!
>
> Here's a 5-limit JI version.
> /tuning/files/reverse-comma.mp3
>
Interesting... it starts to sound odd around the end of b.6, what are
the ratios of the D7 chord and the step E-D in the treble?

And what is the F in the penultimate bar (relative to G and C)?
~~~T~~~

Tom Dent wrote:
> --- In tuning@yahoogroups.com, Herman Miller <hmiller@...> wrote:
> /tuning/files/sphaerenklang/mozcomma2.pdf
>>> JI or any other versions gladly received ... but preferably by audible
>>> means!
>> Here's a 5-limit JI version.
>> /tuning/files/reverse-comma.mp3
>>
> Interesting... it starts to sound odd around the end of b.6, what are
> the ratios of the D7 chord and the step E-D in the treble?

That's E-240 followed by D+1040. Okay, I see where I messed up. All those E-240 should have been E+320. I misread the midi offset for that E (81/64) and used the offset for the G# above it. That's the problem with needing to do these things by hand with pitch bends.

The notes of the D7 chord are D+1040, F#-400, A+240, C+880. Looks like I need to adjust the F# and the A.

> And what is the F in the penultimate bar (relative to G and C)?
> ~~~T~~~

That's the 9/5 F, which is a fourth below the final (comma-sharp) C.

Herman Miller wrote:
> Tom Dent wrote:
>> --- In tuning@yahoogroups.com, Herman Miller <hmiller@...> wrote:
>> /tuning/files/sphaerenklang/mozcomma2.pdf
>>>> JI or any other versions gladly received ... but preferably by audible
>>>> means!
>>> Here's a 5-limit JI version.
>>> /tuning/files/reverse-comma.mp3
>>>
>> Interesting... it starts to sound odd around the end of b.6, what are
>> the ratios of the D7 chord and the step E-D in the treble?
> > That's E-240 followed by D+1040. Okay, I see where I messed up. All > those E-240 should have been E+320. I misread the midi offset for that E > (81/64) and used the offset for the G# above it. That's the problem with > needing to do these things by hand with pitch bends.
> > The notes of the D7 chord are D+1040, F#-400, A+240, C+880. Looks like I > need to adjust the F# and the A.
> >> And what is the F in the penultimate bar (relative to G and C)?
>> ~~~T~~~
> > That's the 9/5 F, which is a fourth below the final (comma-sharp) C.

I fixed the problem with the pitch bends on the E's, and the F# and A in that D7 chord. I also uploaded the MIDI file.

/tuning/files/reverse-comma.mid
/tuning/files/reverse-comma.mp3

--- In tuning@yahoogroups.com, Herman Miller <hmiller@...> wrote:
>
> > That's E-240 followed by D+1040. Okay, I see where I messed up. All
> > those E-240 should have been E+320. I misread the midi offset for
that E
> > (81/64) and used the offset for the G# above it. That's the
problem with
> > needing to do these things by hand with pitch bends.
> >
> > The notes of the D7 chord are D+1040, F#-400, A+240, C+880. Looks
like I
> > need to adjust the F# and the A.
> >
> >> And what is the F in the penultimate bar (relative to G and C)?
> >> ~~~T~~~
> >
> > That's the 9/5 F, which is a fourth below the final (comma-sharp) C.
>
>
> I fixed the problem with the pitch bends on the E's, and the F# and
A in
> that D7 chord. I also uploaded the MIDI file.
>
> /tuning/files/reverse-comma.mid
> /tuning/files/reverse-comma.mp3

OK, we're almost there!
Now I think you need to check the F major in b.6 beat 2, and the very
last C major chord - this seems to me to have some beating, unless
it's due to the oboe timbre somehow.
Perhaps I should have written G dotted half - F quarter in the alto of
bar 7, rather than two halves... you can try that instead.

The comma creep upwards is quite noticeable when you start to listen
for the second time!
~~~T~~~

Tom Dent wrote:

> OK, we're almost there! > Now I think you need to check the F major in b.6 beat 2, and the very
> last C major chord - this seems to me to have some beating, unless
> it's due to the oboe timbre somehow.
> Perhaps I should have written G dotted half - F quarter in the alto of
> bar 7, rather than two halves... you can try that instead.
> > The comma creep upwards is quite noticeable when you start to listen
> for the second time!
> ~~~T~~~

Yeah, it's the wrong A in the F major chord.

The C major chord at the end is C+880 E+320 G+960; that looks right. I extended the last chord so you can hear it more clearly.