Bach vs. Schubert

So (tentatively) an appropriate unequal fixed 12-tone tuning can provide a
relative pain-reduction from 12-tET that is twice as great in the Bach than
in the Schubert. Cool! I'd bet Bach would fall in-between Schubert and, say,
Byrd, in this regard.

>Just listened to the Bach/Busoni in COFT and it's really lovely!

>It's up on my web site, at

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

At 2:45, where I thought I heard the quartertone before, I thought I heard a
shift again. You've trained me well! Of course, after I listened to it
again, it became clear that there was no shift, the harmony is just funny
there (some kind of suspended leading tone there).

>>F-C tempered by about 4/10 comma!
> I calculate .41 comma
Yup.

>>E-B tempered by almost 1/2 comma !!!
> I calculate .41 comma

The difference of the deviations is

0.4689�-(-7.2912�) = 7.7601�

700�-7.7601� = 692.2399�

That's 9.7151� flat, or .45 comma.

>>B-F# tempered by about 3/10 comma
> I calculate .31 comma
Yup.

I found this performance very beautiful -- listening to it in "background
mode", none of these three over-tempered fifths/fourths called attention to
themselves. They must only occur in pretty fast passages, yes? Anyway, what
seems to be the case is the vast majority of fifths/fourths in the piece are
those in the i, iv, and v (V) triads of the key, occurring in relative
proportions 3:1:2. The fifths/fourths of the VII and especially III are
almost entirely absent, while that of the VI occurs about 1/5 as much as
that of i. This accounts for the great degree of justness given to the
frequently occuring fifths, and the over-temperament of the other ones
(needed to get the common thirds in tune). So the optimal tuning you found
is super for D minor (I presume E-B and B-F# are over-tempered in order to
get the leading tone and the parallel major third in tune), but would flop
miserably for a piece in the relative, F major. Has anyone seen a tuning
like this before?