Appendix 6: Feedback
Your feedback here? Please let me know.
- AS (piano tuner, organist, choir director), 20 June 2018
- Based on a compact disk with
tracks 1 u/i 16 excluding 11 and 15 made in April 2018:
"I listened to these tracks three times. In organ music there are several dissonant chords
which have to have a saturated sound. That is quite different from what I hear on this CD.
Both harmonically and melodically things are just wrong.
I have certain expectations which don't come true.
Fugue in g, BWV 578 ends in a G major chord and that sounds perfect.
But the final chord of the
Toccata by Boëllmann for instance does not."
- RD (music scholar), 7 August 2018
- "Great! I just tweeted about it so maybe that will bring you some traffic."
The tweet: "Also in today's JI news: @ErikZuurbier just released his study with experiments in JI on computer-generated organ - an idiosyncratic view:
https://bit.ly/2OizRd8 Exx from C15th to the C19th."
- HF (music scholar), 7 August 2018
- "Immediately I read everything and listened to much of the material. Beautiful! I appreciate it particularly that you leave the judgement to the listener.
In your place I would, at the beginning, be a bit more explicit about why you advocate just intonation; currently that remains 'between the lines'.
It is interesting that - as you state yourself - beating is not just bad. [...]
If you don't mind, I will use your site for my students: beautiful material to let rookie listeners (and who is not as far as just intonation is concerned) actually hear
how temperament/tuning defines the music. With acknowledgements of course.
What intrigued me about your examples is that the sound quality you use is determined to such a large extent by the temperament/tuning."
- FL (pianist), 13 August 2018
- "I have just read it (not everything) and have been listening.
Impressive!
It struck me that just intonation sounds rather inanimate to me, but that could be a matter of getting used to it.
I think your just intonation and tempered just intonation might sound better when you use samples of real organ sounds.
Your explanation of beating is very clarifying, particularly that beating is caused by upper partial sinewaves.
I am a bit skeptical about the keyboard.
Right now I am rehearsing Rhapsody in Blue by Gershwin, which is packed with modulations.
That is complicated enough on an ordinary piano keyboard, but on 'your' keyboard I would have to make different leaps all the time."
- CG, 19 September 2018
- Referring to the home page:
"Hmm, fascinating to note that the ordinary tuning sounds more 'pleasing' to my ear than the just in the 3rd and the 4th example.
The 4th example has another reverb effect, which makes it a bit more difficult to isolate the effect of tuning. [EZ: actually, the reverb is the same for all examples.] [...]
The last example is quite elucidating, because you hear the intervals in immediate succession.
Perhaps it could even be used as the first example instead of the last?
The goals of your project appear to be a nice pursuit and it is strange this has not been done before."
- HdW, 25 November 2018
- "It is quite complicated material you describe on the website.
But I took the time to find out what I am listening to.
After listening many times: I particularly enjoyed the pieces by Bach."
- DH (music scholar), 21 December 2018
- "I have looked at your site and am very interested in it.
Your approach is 'complete' in the sense that you calculate whatever you need by interpolation.
The Reger [music] is interesting; did he have access to just tuning on any instrument? [...]
If you have 4-part music I assume you could play it in just intonation and demonstrate pitch shifting which is what I am interested in? [...]"
- CP (organ expert), 29 December 2018
- Referring to Vox Humana: "That's quite nice.
It sounds realistically out of tune. Vox Humana pipes do not stay in tune for very long [...]
But I did not know that the organ at Sainte-Clotilde had more than 12 keys to the octave.
[EZ: I take that remark as a compliment.]"
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