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@@NokomiseWillabyhigh-i7q ???

this is a MUSICAL transcription this unfortunately is not transcribing the bulgarian words into sign language, which i assume is the confusion

I’m not sure but I’m working on more transcriptions right now from this album!

Thank you! You’re very kind!

That’s very interesting! I never noticed! (And don’t worry this is a modern music affirming channel 😇)

I know this doesn’t look super great on western music notation but that’s because it wasn’t made for western music notation! I spoke with a couple singers from Georgia and Czechia and other Eastern European countries and this rhythmic notation was what they suggested fit the way performers feel this song more! Again I know it breaks a couple notation rules (don’t hid the middle of the measure) but this is a different music with different rules!

That’s fascinating! I never noticed!

That’s really cool! I know very little about Ancient Greek music (minus the Pythagorean tuning) but that’s something I should look into!

​@@collinmccookcomposerI'm told the same is the case in Barbershop harmony, the first and fifth of any chord are always equal-tempered and the third and seventh are perpetually tweaked. "Blue notes." Eddie Van Halen detuning his B string to make his A barre chords not grate through an electric guitar amp (the more distorted a guitar, the worse an equal tempered third sounds; most hard rock bands disguise that in the arrangement). It's apparently something a lot of people worked out independently.

It’s so so cool!

Oh yeah!!! Madness

This is mad; and fabulous!

😏🦷❤️‍🔥

@@collinmccookcomposer But why are you using them? VIcentino's score doesn't have them, and I don't hear them singing them, either.

I heard the soprano voice singing it

@@AmtrakCitiesSprinter64 That would make those vertical sonorities very discordant and they're not.

it seems to be employed wrongly here (e.g. bar 28), where the 3rd beat of the bar should be a G minor chord raised by a 1/5 tone throughout. Not sure why there are different symbols being used to mean the same thing at this point.

Yeah, especially seeing that the overwhelming majority of choral ensembles are in high schools and colleges, it would be difficult to try to teach something like this to those “pre-professional” groups. It’s hard for the professional groups too!

How do you think they sang Gesualdo chromaticism back then? They weren't being influenced by equal temperament and yet there were "impossible" enharmonic moves. I think professional singers of the late Italian madrigalists had to have done some of this in practice as implied by the very accidentals being introduced.

@@lerippletoe6893 oh absolutely! I was talking about our modern ensembles.

@@lerippletoe6893 Even then, as I said, quartertones and quartertonal are far less intuitive than 12-TET, so even if it was somewhat common practice, there would still be something extra difficult about it.

@@oscargill423 well literal quarter tones aren't in tune with anything, not remotely. Relativity matters. Singers can approximate just intervals with practice, and there is no reason they would sing equal tempered thirds historically. So this entails intuitive intonation adjustments that can involve small differences, and comma pump can happen. It was noted to happen, including good choirs. Vicentino's music is next level because he has the chromatic, and the enharmonic as described vaguely by Greek but reimagined in his day. But Gesualdo/Marenzio etc already demands severe chromatic treatment which doesn't sound like 12tet. Gesualdo used split key instruments, they did not even use circulating well temperaments until years later. Intuition develops from experience, these people didn't use 12tet. So historical practice was already microtonal/xenharmonic in some sense with the extended gamut meantone (Ab=/=G# etc) and singers. Vicentino pushed pitch beyond others for sure, and THAT extent never developed. But we have to be clear about what did seem to happen. The excesses of seconda prattica expression were probably undermined by the basso continuo tradition, pragmatism, and different rhetoric developing. From 1580 to 1680 harmony got way more conservative.