Debussy's "Clair de lune", in 72edo, approximating 7-limit

I forgot to mention in my return to the list:

http://dannywier.ucoz.com/clair_de_lune.mp3

This is the most famous part of Debussy's Bergamasque, retuned to a 72edo approximation of JI. Most of the time its conventional 5-limit, but I interpret the D flat-to-F flat and D flat-to-C flat minor intervals as septimal, i.e. 267 and 967 cents. (This arrangement could also be done in quarter-comma meantone or 31 equal.)

Towards the climax in the middle part, the arpeggiated C flat seventh chord, I kept the C flats and F flats in their lower septimal tunings, so as to keep the tension high. This may not have been the best solution.

It's a rough draft and there might be errors in notes (or more likely, exact tuning of notes), and tempo and dynamic changes are less than ideal in some places since I sequenced everything in NWC. I'm mainly demonstrating how septimal intervals could be applied to early modern works.

(I wouldn't do this to Bach, Beethoven and Brahms, but augmented sixth chords do use 225/128, which is only a septimal kleisma from 7/4; both map to 58 moria/commas in 72 equal.)

~D.

--- In tuning@yahoogroups.com, Danny Wier <dawiertx@...> wrote:
>
> I forgot to mention in my return to the list:
>
> http://dannywier.ucoz.com/clair_de_lune.mp3

I like it. Now write a program to do this automatically. :)

Your description of your procedure sounds to me as if you are using 72 in support of compton temperament, the 12&72 temperament tempering out both the Pythagorean comma and 225/224. One possible generator is the tempered version of 81/80, a single step of 72 if you are using 72 for a tuning, an idea which makes a lot of sense. A program to automatically retune 12edo to compton seems to me to be something which might be possible to do.

Beautiful!

Really not much else to add but that!

On Thu, Jun 24, 2010 at 1:55 PM, Danny Wier <dawiertx@...> wrote:

>
>
> I forgot to mention in my return to the list:
>
> http://dannywier.ucoz.com/clair_de_lune.mp3
>
> This is the most famous part of Debussy's Bergamasque, retuned to a 72edo
> approximation of JI. Most of the time its conventional 5-limit, but I
> interpret the D flat-to-F flat and D flat-to-C flat minor intervals as
> septimal, i.e. 267 and 967 cents. (This arrangement could also be done in
> quarter-comma meantone or 31 equal.)
>
> Towards the climax in the middle part, the arpeggiated C flat seventh
> chord, I kept the C flats and F flats in their lower septimal tunings, so as
> to keep the tension high. This may not have been the best solution.
>
> It's a rough draft and there might be errors in notes (or more likely,
> exact tuning of notes), and tempo and dynamic changes are less than ideal in
> some places since I sequenced everything in NWC. I'm mainly demonstrating
> how septimal intervals could be applied to early modern works.
>
> (I wouldn't do this to Bach, Beethoven and Brahms, but augmented sixth
> chords do use 225/128, which is only a septimal kleisma from 7/4; both map
> to 58 moria/commas in 72 equal.)
>
> ~D.
>
>