DEMONSTRATIONS OF THE SYNTONIC COMMA AND THE PITFALLS
The syntonic comma is a comma also for string players etc.(in practical playing)
The pythagorean comma is only for keyboard players and has a very,very distant relationship 531441/524288
The syntonic comma is the main musical comma.(81/80) (The diesis comes afterwards 128/125)
It gives huge challenges but also exiting possibilty for musical redefinitions of tones.
................................
My bad spinet has
been subjected to many tonal adjustments on these recordings + a
little tinkering with my audio equipment.
This is my
demonstration of the syntonic comma.
2 ways to lose our
starting pitch completly
But I have also made 2 recordings where I am correcting this error (below) (if we had
maaany tones available in an octave).
What you hear follow
these premises:
a) All passing tones
are absolutely identical from one chord to another (C as the passing
tone between C major and F major )
b) I am always
tuning a new chord completely pure from the base of the passing
tone(s).
(Here I have to refer to my new blog containing my new tuning. In this guide I am demonstrating the problem of syntonic comma in a better way.
Click HERE )
Click HERE )
First audio files
without graphs.
C-F Dm-G-C etc.
(Maybe you have to download to play )
How well did you keep
the original tone inside you with your inner ear ??
Could this be one of
the reasons why amateur choirs (in addition to that they are bad)
often are sinking and losing their starting pitch ?
..................
The problem may also
occur in the other direction.
Alike, but this time
opposite . The pitch is ascending.
C- Gsus4-G
Dsus4-Dm-Esus4-E-C-G-C, etc..
------------------
You'll now see these
problems visualized with graphs.
A brief introduction
to the graphs. (If you do not understand this, you can of course just
listen .):
This is a smaller
part of the complete diagrams otherwise on the blog.
There is one black
and one red graph. Identical,same shape but shifted.
A pure fifth is a
horizontal line (sloping downward towards the right means a narrow
fifth).
The vertical
distance between the red and black graph is
the deviation from a
pure major third.
In our example, all
played intervals are pure and located on straight horizontal lines
But I have a red and
a dark green D on the black graph (in the second example, it also applies to the G).
These are still the
same tones but makes the challenges of the syntonic commas become visible.
So when a new chord
suddenly jumps upwards to the left then it is not that big jump as
it seems.
It is the tricky D as the passing tone.
Read more here :
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Here is the graphic
representation of what you just heard. The blue dotted rings
means the passing
tones. I also added a reference tone in this audio file.
The values are
in TU (1 cent = 30.69 TU)
What is strange here
is that when we know the chord progression and what it leads us to ,
then we experience the A in F Major slightly impure even before
the next chord is played and even if it is completely pure.
This A is the tone
that pulls all the other tones downwards.
.....
What can we do if we
have many tones available?
One round gives an
error of 660 TU.
We have 4 distinct
chord shifts in each example.
What I do is to
compensate with 165 TU for each new chord.
In our first
example, the pitch sank dramatically
Now I raise
each new chord with only 165 TU, this is not audible for my ears.
Even the keynote we
raise a little bit. With this little adjustment we are keeping the
starting pitch, while every chord is completely pure !
You can hear and
watch the solution here :
.................................................
This also applies to our second example.
The example with
audio and graphs, and with a reference tone:
In my last example the same chords but now with
corrections:
Since the issue here
is accending of the pitch, then I lower each new chord with 165 TU,
still becoming inaudible (to me).
This solution looks
and sounds like this:
Hope you could benefit from this !
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