Right here you can really hear the difference from the well tempered version

"This piece of music was the first demonstration of Bach's system for tuning a keyboard so that all 12 key signatures were usable, hence the first (and one of the best) demonstration of tempering." But that's not true, circular temperaments were around before Bach, ex: Werckmeister. Plus, other works had made use of all tonalities, ex: Fischer.

@ryan-james-albano: Thanks Ryan! JI is practical with the right notation. I've updated the track image to show the ASCII notation inputted into Excel to start the sequencing process.

Very interesting! You could upload all this on github as well.

This would be a good way to re-record Switched On Bach.  I would love to hear that recorded with Just Intonation.

I wonder if you ever saw this similar version I did in 2009? https://www.youtube.com/watch?v=72ukYpfpgDI

This is a justly intoned arrangement of J. S. Bach's Prelude in C Major, the first Prelude of the 48 Preludes and Fugues, a body of work by Bach which demonstrated that with tempered tunings every major and minor key was usable.

As well as being one of my favourite pieces of music, I thought it would be worthwhile to demonstrate that this music sounds just as interesting (maybe more interesting!) in Just Intonation (JI), where exclusively rationally-spaced intervals are used. JI is the natural way of tuning intervals. It derived from harmonic series, which are produced by string and wind instruments.

Due to the 'wrap-around' nature of tempered tunings, some transitions (e.g. D minor to G major) are good transitions in tempered tunings, but sound 'further away' or less harmonious in JI. Also, transitions from ,D' to `D (10/9 to 9/8) and from C to `C~7 (1/1 to 63/64) are noticeably microtonal shifts. Some people might like them, some might not. Personally, I like them. The major advantage is the purity of all the triads and seventh chords, which in my opinion outweigh the 'disadvantages' of having noticeable microtonality.

As always, I've slipped in an 11th and 13th harmonic (the 11th is obvious, the 13th less so). I refuse to write any new music which does not contain both 11th and 13th harmonics.

Another interesting feature was Bach's usage of diminished chords. My favourite justly intoned diminished chord is the sequence 10:12:14:17:20:24:28:34:40 etc. Hence, some 17th harmonics have been used, wherever there is a diminished chord, in both 17/1 and 1/17 formats (and 5/17).

Hence, this track contains all the harmonics 2, 3, 5, 7, 11, 13 and 17. I will attempt to remedy the lack of 19, 23, ..., 127th harmonics in my next upload.

Enjoy!

Dave

------------------------

Bach number of this track: BWV846 or BWV 846

See also:
- https://arxiv.org/a/ryan_d_1 (arXiv) for a list of my academic paper pre-prints, including my writing on music theory and Just Intonation
- http://orcid.org/0000-0002-4785-9766 (ORC ID) for my academic profile
- https://www.linkedin.com/in/davidryan59 for my LinkedIn profile

Bach BWV846 Prelude in C major - Chip Synth, Justly Intoned

I'm into Just Intonation (JI), which is using harmonics (or undertones) to generate music. Over time, my profile will fill up with wonderful and melodious New Harmony, fresh from the infinite vaults of the original and best source of harmony, Just Intonation.

I’ve written some papers on the music theory of Just Intonation. You can check them out via the arXiv link below. Topics include the mathematical analysis of harmony (in Just Intonation), and a notation system to cover all of Just Intonation.

Enjoy listening!

Comments

Danny Playamaqui

Aaron Andrew Hunt

g33zrj1m

pytchblend

asublin

Ahornberg

David Ryan

jollybard

Mick Sussman