What a fantastic overview of Hyperion Knight’s course! His innovative approach, blending classical and popular music like "Blackbird" and "Over the Rainbow," makes complex musical concepts both accessible and engaging. Additionally, the inclusion of detailed excerpts from Beethoven and Bach provides a deep dive into musical history, showing how it shapes modern compositions. This combination of historical context and diverse examples makes the course an invaluable resource for anyone keen to expand their musical knowledge. Thanks for highlighting such a valuable and free educational opportunity! we’d like to invite you to explore what BMusician has to offer. Our platform provides top-notch music lessons, tutorials, and a vibrant community of fellow enthusiasts. We also offer personalized one-to-one online sessions with experienced instructors, ensuring tailored guidance to help you reach your musical goals.
Tuning systems are one of the most excruciating rabbit holes you can possibly dive down in music, because as a practicing musician (on a string or wind instrument where you have real-time control over intonation) you can't stick with any one of them and have every note sound right. You end up having to do a complicated analysis of what your options might be for any note remote from your tonic, but then just choosing one of those options because you like the way it sounds in context.
This is a long way of saying that sometimes an in-tune B# will be slightly higher than a C and sometimes it won't.
There is an "Out There" philosophical position that "Equal Temperament Was the Death of Harmony." I feel their pain; but I think most of us would not want to go back to Quarter-Comma Mean Tone, speaking of rabbit holes.
When a modern orchestra plays, there will be times when the flute, the French horn, and the viola* are, strictly speaking, all approximately approximating the desired notes, in different ways. But somehow, the last movement of Mahler's Tenth still moves people to tears--in a good way.
*The viola (in theory) can play any tuning or temperament, by avoiding the open strings. But if a C-natural is needed, the violist is stuck with how the lowest string C was tuned by its tuning peg. But that doesn't solve the problem of which exact pitch inflection does a particular notated note call for? That is inextricably intertwined with everything else that has gone on and is going on. Similar harmonization problems can be found in certain choral works.
"Knight" is (obviously) a very old Anglo-Irish family name, and Hyperion is really the man's birth name. Though it sounds like the name of a good-guy character in a spy novel.
Or, the love interest in a "Bodice-Ripper" paperback novel. "The kind the drugstores sell... "
What a fantastic overview of Hyperion Knight’s course! His innovative approach, blending classical and popular music like "Blackbird" and "Over the Rainbow," makes complex musical concepts both accessible and engaging. Additionally, the inclusion of detailed excerpts from Beethoven and Bach provides a deep dive into musical history, showing how it shapes modern compositions. This combination of historical context and diverse examples makes the course an invaluable resource for anyone keen to expand their musical knowledge. Thanks for highlighting such a valuable and free educational opportunity! we’d like to invite you to explore what BMusician has to offer. Our platform provides top-notch music lessons, tutorials, and a vibrant community of fellow enthusiasts. We also offer personalized one-to-one online sessions with experienced instructors, ensuring tailored guidance to help you reach your musical goals.
Tuning systems are one of the most excruciating rabbit holes you can possibly dive down in music, because as a practicing musician (on a string or wind instrument where you have real-time control over intonation) you can't stick with any one of them and have every note sound right. You end up having to do a complicated analysis of what your options might be for any note remote from your tonic, but then just choosing one of those options because you like the way it sounds in context.
This is a long way of saying that sometimes an in-tune B# will be slightly higher than a C and sometimes it won't.
Thanks for the thoughtful contribution.
There is an "Out There" philosophical position that "Equal Temperament Was the Death of Harmony." I feel their pain; but I think most of us would not want to go back to Quarter-Comma Mean Tone, speaking of rabbit holes.
When a modern orchestra plays, there will be times when the flute, the French horn, and the viola* are, strictly speaking, all approximately approximating the desired notes, in different ways. But somehow, the last movement of Mahler's Tenth still moves people to tears--in a good way.
*The viola (in theory) can play any tuning or temperament, by avoiding the open strings. But if a C-natural is needed, the violist is stuck with how the lowest string C was tuned by its tuning peg. But that doesn't solve the problem of which exact pitch inflection does a particular notated note call for? That is inextricably intertwined with everything else that has gone on and is going on. Similar harmonization problems can be found in certain choral works.
That said, for Baroque keyboard music, my favorite tuning regimen is the Bach Spiral Temperament: https://www.stereophile.com/thefifthelement/207fifth/index.html
NB, I mean as a listener, and not a player. I suck at keyboards.
cheers,
john
Awesome! Free education by someone who knows what they're talking about!
also hyperion knight is literally the greatest name ive ever heard in my life
"Knight" is (obviously) a very old Anglo-Irish family name, and Hyperion is really the man's birth name. Though it sounds like the name of a good-guy character in a spy novel.
Or, the love interest in a "Bodice-Ripper" paperback novel. "The kind the drugstores sell... "
tee hee,
john marks
You read my mind.
I MUST say, Avoidable Contact's readers are both smart, and quick.
Thanks,
john