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A modern neoVictorian attempt, was: Re: Request for historic tuning

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  • Andreas Sparschuh
    ... Just try that modern trial of attempting to remake that style: in 5ths: -6: _ _ _ Ab 415 Hz
    Message 1 of 38 , Apr 25 8:00 AM
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      --- In tuning@yahoogroups.com, "Jon Szanto" <jszanto@...> wrote:
      >
      > If one were to compose some music that would be a backdrop to
      > Victorian England....
      Just try that modern trial of attempting to remake that style:

      in 5ths:
      -6: _ _ _ Ab 415 Hz < 416 208 204 102
      -5: _ _ _ Eb 312 156 78
      -4: _ _ _ Bb 234 117
      -3: 351 > F_ 350 175
      -2: 525 > C_ 524 262 131
      -1: _ _ _ G_ 393 > 392 196 98
      00: _ _ _ D_ 294 147
      +1: 441 > A_ 440 220 110
      +2: 330 > E_ 329 > 328 164 82
      +3: _ _ _ B_ 246 123
      +4: 369 > F# 368 184 92
      +5: _ _ _ C# 276 138
      +6: 414 > G# 415 Hz

      yields recombined in ascending order:

      +1: A3 220 Hz
      -4: Bb 234
      +3: B3 246
      -2: C4 262 'middle-C'
      +5: C# 276
      00: D4 294
      -5: Eb 312
      +2: E4 329
      -3: F4 350
      +4: F# 368
      -1: G4 393
      +6: G# 415
      +1: A4 440 Hz

      > Bonus points if you can post data in .scl
      > format or give me the name in the Scala tuning archives...
      >
      !neoVictorian.scl
      !
      middle-C4 = 262 Hz or A4 = 440 Hz
      !
      12
      !
      138/131 ! C#
      147/131 ! D
      156/131 ! Eb
      329/262 ! E
      415/262 ! F
      393/262 ! F#
      415/262 ! G
      220/131 ! A
      234/131 ! Bb
      246/131 ! B
      2/1
      !
      !

      sharpnesses of the 3rds
      on the empty violin strings:
      1:G 2:D 3:A 4:E

      1: G < B < < Eb < G.
      absolute pitches:
      G_ 393 = 131*3
      5*131*3= 3*655 < 656*3 328*3 164*3 82*3 41*3 = B 123 < 124 62 31
      5 * 31 = 155 < Eb 156 78 = 26*3
      5*26*3 = 3*130 < 131*3 = G 393.

      That results in the relative diesis 128/125 subdistribution:
      G 656/655 B 69.333.../68.333... Eb 131/130 G.


      2: D < F# < Bb < D.
      abs:
      D 147
      5*147 = 735 < F# 736 368 ... 46 23
      5* 23 = 115 < B 117 = 39*3
      5*39*3= 3*195 < 196*3 98*3 49*3 = D 147.
      rel:
      D 736/735 F# 58.5/57.5 B 196/195 D.


      3: A < C# < < F < A.
      abs:
      A 55
      5* 55 = 275 < C# 276 139 69 < 70 35
      5* 35 = 175 < F 176 88 44 22 11
      5* 11 = A 55.
      rel:
      A 276/275 C# 70/69 F 176/175 A.


      4: E < < G# < C < E.
      abs:
      E 329 < 330 165 < 166 83
      5*83 = G# 415 < 416 208 ... 52 26
      5*26 = 130 < C 131
      5*131= 655 < E 658 329.
      rel:
      E 110.666../109.666.. G# (17/21+99)/(98+17/21) C 219.333../218.333.. E

      ~Cents approx. distribution of the 4 diesises
      represented as 3rds sharpnesses:


      1: G<3<B_<<<<<<<<<<<<25<<<<<<<<<<<Eb<<<<<<13<<<<<C.
      2: D<2F#<<<<<<<<<<<<<<30<<<<<<<<<<<<<<Bb<<<<9<<<<G.
      3: A<<<6<<C#<<<<<<<<<<<<25<<<<<<<<<<<F_<<<<10<<<<A.
      4: E<<<<<<<16<<<<<<<G#<<<<<<<<17<<<<<C_<<<<<13<<<E.


      slightly different from 12-EDO with all 3rds ~14Cents same sharp.

      For those who like meantonic harmonic 7ths 7/4 Eb>C#
      Attend:
      7*Eb/C# is barely 92/91 ~18.9Cents sharp
      -still yet used in Victorian era -
      instead ~32.2C in 12-EDO.

      have a lot of fun with that
      A.S.
    • Charles Lucy
      The key which instruments are easiest to play seems to follow a general pattern influenced by their physical form: Stringed instruments usually have sharp
      Message 38 of 38 , Apr 25 1:42 PM
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        The key which instruments are easiest to play seems to follow a general pattern influenced by their physical form:

        Stringed instruments usually have sharp (key) open strings; e.g. guitar, violin family, bass, etc.
        Keyboard layout tends to be easier to play for flat keys. 

        It is a matter of ergonomics.

        Noel Coward prolly wrote on keyboards.

        Charles Lucy lucy@...

        -----  Promoting global harmony through LucyTuning  -----

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        On 25 Apr 2007, at 19:25, Tom Dent wrote:



        > In this olden book from c1908 (IIRC - a cheap Dover paperback reprint
        > that my local library has),
        >
        http://www.amazon.com/Piano-Tuning-Simple-Accurate-Amateurs/dp/0486232670
        >
        > the author presses the model of equal temperament, done by ear,
        > obviously...but an interesting remark (to me) is that he has a
        complaint
        > against some of the other contemporary tuners. He says that some of
        > them do too much favoring of the flat keys,

        hmm, you'd need to work out what 'favouring' means here.

        Could be: flat keys have better *fifths*, because the tempering was
        mostly used up in tuning through the naturals and sharps

        Could be: flat keys have better thirds than *both* the central keys
        and the sharps.


        A lot of Noel Coward is in E flat major, but I'm not sure that means
        much...


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