If you could play/compose “closer” to just intonation, with no inconvenience…(overnight it becomes technically just a choice, a new invention, program, …a magic instrument, however, why-ever),…would you?

  1. The actual issue with real just intonation is you need to tune all the notes on the fly and it becomes possible the "C chord" you might start with is very far from a "C chord" you end with.

  2. Ha, I kinda of thought that might be possible. Only skimmed the link but I’m pretty sure I get what you’ve saying. I get how that could be a problem. I’m thinking in longer pieces. I’m just doing 3 minute songs. I do kinda of assume though after a “cadence” , or section , especially with drums, you could just “reset “ . By reset I mean resume the starting chord of the next section in 12tet. Meaning, start over at 00 instead of 10 to 16cents # or b. I don’t think anyone would notice. Not sure, but I think this covers at least 90 percent of situations. Of course this is only an guess I’ll have to see/hear. On the other hand changing key “without changing key” actually sounds like a pretty cool trick, if by the end of the song you’re a semitone higher…that would be okay with me.

  3. Might be possible to do such retuning on the fly if you can find a computer program or DAW plugin for it. A MIDI sequencer could definitely be programmed to move specific notes up or down a precise number of cents based on probably user-selected/programmed context. So for example, the user might be able to select some bars and have them set to just intonation on C, and some different bars and have them set to just intonation on A. You can already do it in most any DAW manually, but it's obviously tedious to go note-by-note and offset the pitch.

  4. Personally, I think the problem is that its kind of just diffucult. It works if each sonority/chord is just intonated, but that would mean adjusting the temperament of the scale every chord. Otherwise, any key change will sound odd and dissonant. There's also the fact that JI can just sound off since we're so accustomed to 12TET.

  5. I agree , it’s not easy, but the benefit of having access to both ways and virtually playing 3 instruments as one, is you can slip in and out of JI. (Or really only using it when I want the M3rd to sound a certain way, I’m not so sure changing keys would be a big problem. I’ll try that tomorrow. I do realize in pure just intonation there’s probably one way of doing it. But because of the existence of 12tet , including it , or choosing it (by choosing I mean when moving to a new chord sometimes, usually a minor to major chord or M to m. you have a choice, or at least how I see it…To jump to the 12tet root or JI root.) hope that makes sense . Obviously, 12tet works more than well enough, The minor chord’s difference was hard to hear. The melody I used didn’t pop out as strange or even different, but I was, being more focused on the chord sounds. I’ll have to be more attentive to that, that, and key changes. Thank you for your input.

  6. You may want to google Eivind Groven's microtonal organ- an actual instrument from the age of analog electronics, that attempted to play keyboard music in just intonation. Like your proposal, it had lowered, normal, and raised versions of the pitches, for a total of 36 per octave.. controlled by a 12-keys-per-octave keyboard, that sensed what key you were playing in and tuned it for you. If memory serves, he used 387.5-cent major thirds, so that eight major thirds and one 12TET fourth added up to exactly 3 octaves (the difference between 8 JI thirds and one JI fourth and 3 octaves is only 1.96 cents, a micro-interval called the "schisma.")

  7. That instrument sounds interesting. There’s a few Theremin apps, that reminds me of. (Less useful) but I may still have them on an old outdated iPad. The phone’s a little too small but it was like a cheat theremin because they had note or at the least frequency markers. I think I’d get lost real quick with a real Theremin, even a violin. I’m guessing you “nudge” some of your notes??? I kinda of gave up on JI awhile back except for tuning my guitar a tad flat to be able to bend slightly to where I want it. I’m currently reading Harmonic Experience by W.A. Mathieu, or trying to. It’s above me but still captivating. I’ll read it again and do the exercises ,but for now just going through it with a keyboard on occasion. His book and the computer thing sparked my interest again. Right now, just enjoying the thirds.

  8. People already do this. Non-fixed pitch instruments adjust to the vertical sonorities all of the time. Instruments like violins, winds, and voices regularly make differences between D# and Eb.

  9. 12 tet is only really a thing with keyboard instruments and synthesizers. The rest of us already do just intonation by default and most recordings you've heard that use real instruments are closer to just intonation than 12 tet.

  10. I’m thinking it should be one way or the other , right? I mean I guess maybe vocals would be more forgiving . But it might be “better” if all instruments were playing one way.

  11. Thanks for this, I messed around with this last night, but I’ll do it again later in a less tired state. Is the Bdb right? Is this Bb d ? Sorry , I wanted to make sure it wasn’t a typo. (In the 2nd example)

  12. Sure, not because of purity, but because of a much richer palette available. There are equal temperaments that approximate harmonics well, like 31 tone equal temperament or 41 tone equal temperament.

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