It's a gem in the music world to see a classical composer using microtonality, not for a cathartic mess of lack of understanding in microtonal theory, but with structured intent, which is altogether rare to see in microtonal composition in general. SO cool!
Thank you so much for uploading this and the score! I'm studying 19-TET for my dissertation and I'm finding this incredibly useful and interesting. I'm in the process of working this out on a 19-TET guitar and I wouldn't of stood a chance without this score. cheers
Gareth Evans Thank you - it does take some working out and good luck. "ConvincinggPeople" some time ago (I can't seem to reply to that posting) wished somebody would provide a full choral version. Well there now is one (using this edition) and it works out perfectly well. The singers sing sufficiently "in tune" for the pitch depression to work as shown, and although they end up a full tone lower than at the start (instead of 2/3 a tone lower) nobody could hold that against them! TH-cam does not allow links, so you will have to do your best with this, but it can be found at: http-colon-slash-slash-www-dot-deezer-dot-com-slash-track-slash-63893577 You will have to set up an account (free) with username and password to listen to it.
19et is fully compatible with normal music notation, however there are no normal enharmonic equivalents - C# is a different note than Db, and must be written as such (However, E# and Fb are the same, as are B# and Cb.) By degrees from C, 19et is usually notated as follows: 0: C 1: C# 2: Db 3: D 4: D# 5: Eb 6: E 7: E#/Fb 8: F 9: F# 10: Gb 11: G 12: G# 13: Ab 14: A 15: A# 16: Bb 17: B 18: B#/Cb 19: C'
thank you for posting this, I am getting a 19 edo neck from Metatonal Music soon and there is just an abundance of information in that piece of music, love the chord progressions, the diatonic and chromatic movement it started getting really interesting around bar 119 and then it ended too soon afterward :( I would have liked to hear more development using eight notes continue further
GUILLAUME COSTELEY { PONT-AUDEMER 1530 ou 1531~1606 EVREUX } " SEIGNEUR DIEU TA PITIÉ " Une merveille à l'instrument a clavier, grandiose bravo. Grand compositeur musicologue théoricien français de la musique de la Renaissance. Il fut organiste à la cour de CHARLES IX puis de HENRI III, de 1560 à 1585. Adhérant des mouvements humaniste, il fréquentait le salon de la comtesse de RETZ et y rencontre le poète REMI BELLEAU. COSTELEY est un des plus importants compositeurs du XVIe siècle, comme son contemporain ANTOINE de BERTRAND avec plus de cent chansons. Merci pour cette oeuvre de GUILLAUME COSTELEY qui est éternel.
Thanks - you can get more technical info in my article which I'll now attach to the video description for you. All 19 different pitches indeed are used during the piece. I don't really know whether Sibelius offers this opportunity - I don't think Scala does, though I have used this to set up various historic tunings using the normal 12 pitches. I wanted to write more here, but I'm going to run out of characters! I'm on Facebook (Roger Wibberley) - do PM me if you like. Best...
7:51 yk this part used to be too spicy for me but now i fw it more these days ahaha does NOT feel like 8 minutes always leaves u at the edge of ur seat metaphorically
Costeley is quite specific - each tone is divided into 3 completely equal semitones. That consequently imposed a 19-tone ET. Your assertion the ET was not used at this time is invalidated by the exhaustive accounts of Salinas as necessarily applied to fretted instruments such as guitars and lutes. The frets did not allow for major and minor semitones since they had fixed positions covering all strings.
+MrMaktab Thank you - I just did it at 440 (being more interested in the 'solution' than the base pitch and the possible controversies surrounding that).
I don't really think, equal temperament is intended here, tho. It was not in use at all in that time, and this tuning is, most likely, 1/4 comma Meantone extended to 19 notes. Also, Vicentino's instruments had 31 pitches per octave
Vincentino’s archicembalo tuning was indeed based on 1/4-comma meantone theory, but Costeley specified that for this specific piece, he wanted the archicembalo tempered equally.
Actually, Vincentino's instruments had 36 notes per octave, although some of them would have duplicated pitches in one of the alternative tunings he wrote about.
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Been listening to this for more than ten years now - great recording - just wish it didn't have the intro so it could be added to a playlist
This sounds exceptionally smooth. Any moments that would sound weird to a Western ear are actually very welcome in my book.
It's a gem in the music world to see a classical composer using microtonality, not for a cathartic mess of lack of understanding in microtonal theory, but with structured intent, which is altogether rare to see in microtonal composition in general. SO cool!
1:17 to 1:19 sounds slightly off to me, and I don't have perfect ear. Otherwise, it all sounds consonant and smooth indeed.
Costeley was really ahead of his time, wasn't he?
I really wish someone would upload a full choral version.
If I get a chance anytime soon I might try and make a choral version
Here it is, by Ludus Modalis directed by Bruno Boterf th-cam.com/video/zoPFqYeO-xU/w-d-xo.html
Thank you so much for uploading this and the score! I'm studying 19-TET for my dissertation and I'm finding this incredibly useful and interesting. I'm in the process of working this out on a 19-TET guitar and I wouldn't of stood a chance without this score. cheers
Gareth Evans Thank you - it does take some working out and good luck. "ConvincinggPeople" some time ago (I can't seem to reply to that posting) wished somebody would provide a full choral version. Well there now is one (using this edition) and it works out perfectly well. The singers sing sufficiently "in tune" for the pitch depression to work as shown, and although they end up a full tone lower than at the start (instead of 2/3 a tone lower) nobody could hold that against them!
TH-cam does not allow links, so you will have to do your best with this, but it can be found at:
http-colon-slash-slash-www-dot-deezer-dot-com-slash-track-slash-63893577
You will have to set up an account (free) with username and password to listen to it.
19et is fully compatible with normal music notation, however there are no normal enharmonic equivalents - C# is a different note than Db, and must be written as such (However, E# and Fb are the same, as are B# and Cb.)
By degrees from C, 19et is usually notated as follows:
0: C
1: C#
2: Db
3: D
4: D#
5: Eb
6: E
7: E#/Fb
8: F
9: F#
10: Gb
11: G
12: G#
13: Ab
14: A
15: A#
16: Bb
17: B
18: B#/Cb
19: C'
thank you for posting this, I am getting a 19 edo neck from Metatonal Music soon and there is just an abundance of information in that piece of music, love the chord progressions, the diatonic and chromatic movement
it started getting really interesting around bar 119 and then it ended too soon afterward :( I would have liked to hear more development using eight notes continue further
More of this, please !
GUILLAUME COSTELEY { PONT-AUDEMER 1530 ou 1531~1606 EVREUX }
" SEIGNEUR DIEU TA PITIÉ "
Une merveille à l'instrument a clavier, grandiose bravo. Grand compositeur musicologue théoricien français de la musique de la Renaissance. Il fut organiste à la cour de CHARLES IX puis de HENRI III, de 1560 à 1585. Adhérant des mouvements humaniste, il fréquentait le salon de la comtesse de RETZ et y rencontre le poète REMI BELLEAU. COSTELEY est un des plus importants compositeurs du XVIe siècle, comme son contemporain ANTOINE de BERTRAND avec plus de cent chansons. Merci pour cette oeuvre de GUILLAUME COSTELEY qui est éternel.
0:56 coming baxk every year to watch this and slightly grasp more of it.. Darren green, ethan schwarz n guillaume n this guy
Incredible!, I did not know that this existed.
Fascinating! thank you for this video.
When I listen to 7:21 to 7:46, it seems to be conveying a message of redemption. What do you guys think?
Wow. And here I thought Costeley only wrote mildly amusing songs about shepherds....
blows my brains out like it did when i was 18 ahaha
Thanks - you can get more technical info in my article which I'll now attach to the video description for you. All 19 different pitches indeed are used during the piece. I don't really know whether Sibelius offers this opportunity - I don't think Scala does, though I have used this to set up various historic tunings using the normal 12 pitches. I wanted to write more here, but I'm going to run out of characters! I'm on Facebook (Roger Wibberley) - do PM me if you like. Best...
MuseScore allows pitch bend now.
7:51 yk this part used to be too spicy for me but now i fw it more these days ahaha
does NOT feel like 8 minutes
always leaves u at the edge of ur seat metaphorically
Costeley is quite specific - each tone is divided into 3 completely equal semitones. That consequently imposed a 19-tone ET. Your assertion the ET was not used at this time is invalidated by the exhaustive accounts of Salinas as necessarily applied to fretted instruments such as guitars and lutes. The frets did not allow for major and minor semitones since they had fixed positions covering all strings.
Increíble, no sabía que esto existía esto.
wish he wrote more in 19 edo!! still a lot to unpack here, tho
damn rly hits you the second listen
2:41 starts there from the very start of the piece
what was this guy ON .. wow
This piece; sounds very smooth and nice any only really slightly odd in a couple of places.
Perhaps this is because the thirds and sixths are more consonant than they are in normal western music.
Very interesting. Just a quick question: did you program this to play in the concert pitch of the period (e.g. A415-ish), or is this A440?
+MrMaktab Thank you - I just did it at 440 (being more interested in the 'solution' than the base pitch and the possible controversies surrounding that).
Would like to hear it in 415ish
Concert pitch varied between regions. Handle’s tuning fork rings C at 256Hz, for example.
⚘⚘💛❤
2:45
bruh this should be the Sakkaedōn empire intro theme, sorta like in shrek as they are telling the tale from a book @vestik
that was insane..
Guillaume Costeley (1530-1606) - th-cam.com/video/_w7GXX5cJDY/w-d-xo.html
I don't really think, equal temperament is intended here, tho. It was not in use at all in that time, and this tuning is, most likely, 1/4 comma Meantone extended to 19 notes. Also, Vicentino's instruments had 31 pitches per octave
Probably not, but equal temperament did exist at the time. Meantone was more common for keyboard music.
Vincentino’s archicembalo tuning was indeed based on 1/4-comma meantone theory, but Costeley specified that for this specific piece, he wanted the archicembalo tempered equally.
Actually, Vincentino's instruments had 36 notes per octave, although some of them would have duplicated pitches in one of the alternative tunings he wrote about.