music-theory.pitch.tunings — music-theory 0.3.1

<-equal clj/s

(<-equal ref-pitch freq)

<-just clj/s

(<-just ref-pitch frequency tonic)

<-quarter-comma-meantone clj/s

(<-quarter-comma-meantone ref-pitch frequency tonic)

<-ratios clj/s

(<-ratios ratios)

A higher-order function that creates a reverse tuning function from a list of 12 ratios.

<-werckmeister-iii clj/s

(<-werckmeister-iii ref-pitch frequency tonic)

<-young clj/s

(<-young ref-pitch frequency tonic)

equal-> clj/s

(equal-> ref-pitch midi-note)

Equal temperament: so convenient, yet so ugly.

just-> clj/s

(just-> ref-pitch midi-note tonic)

Just intonation is any musical tuning in which the frequencies of the notes are related by ratios of small whole numbers. (source: https://en.wikipedia.org/wiki/Just_intonation)

There are a lot of variations on these ratios. These ones were picked somewhat arbitrarily as a good general example of just intonation. (ref: http://www.sfu.ca/sonic-studio/handbook/Just_Tuning.html)

just-ratios clj/s

quarter-comma-meantone-> clj/s

(quarter-comma-meantone-> ref-pitch midi-note tonic)

The most common meantone temperament in the 16th and 17th centuries. The perfect fifth is flattened by 1/4 of a syntonic comma, with respect to its just intonation used in Pythagorean tuning (3:2).

(source: https://en.wikipedia.org/wiki/Quarter-comma_meantone#Alternative_construction)

quarter-comma-meantone-ratios clj/s

ratios-> clj/s

(ratios-> ratios)

A higher-order function that creates a tuning function from a list of 12 ratios.

Uses equal temperament as the standard for finding the starting pitch, based on the reference pitch and the tonic, then uses the ratios to tune based on the tonic.

werckmeister-iii-> clj/s

(werckmeister-iii-> ref-pitch midi-note tonic)

Werckmeister I (III): 'correct temperament' based on 1/4 comma divisions (source: https://en.wikipedia.org/wiki/Werckmeister_temperament)

werckmeister-iii-ratios clj/s

young-> clj/s

(young-> ref-pitch midi-note tonic)

The piano tuning used by La Monte Young in his composition The Well-Tuned Piano. It is a form of just intonation based on a modified seven-limit tuning process. (source: https://en.wikipedia.org/wiki/The_Well-Tuned_Piano#Tuning)

Interestingly, this scale does not uniformly ascend. A couple notes are actually lower in pitch than the next note up. This is so that all perfect fifths (3/2 ratios) will be spelled as perfect fifths on the keyboard. (source: http://www.kylegann.com/wtp.html)

young-ratios clj/s