24 TONE EQUAL TEMPERAMENT
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#9 12/11 |
#21 11/9 27/22 |
#39 16/11 |
18/11 31/19 |
#63 11/6 |
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#3
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#15 15/13 22/19 |
#27 22/17 |
#33 11/8 |
#45 17/11 20/13 |
#57 19/11 26/15 |
#69 33/17 |
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#6 18/17 17/16 |
#18 19/16 25/21 |
#36 17/12 24/17 |
19/12 27/17 |
#60 16/9 25/14 |
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|
#0 1/1 |
#12 9/8 28/25 |
#24 24/19 29/23 |
#30 4/3 |
#42 3/2) |
#54 32/19 |
#66 17/9 |
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|
#3
|
#15 15/13 22/19 |
#33 11/8 |
17/11 20/13 |
#57 19/11 26/15 |
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|
#69 33/17 |
#9 12/11 |
#21 11/9 27/22 |
#27 22/17 |
#39 16/11 |
#51 18/11 31/19 |
#63 11/6 |
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Charles Ives, Some Quarter-tone Impressions, W. W. Norton & Co., Inc., New York, 1962
A friend who was a "thorough musician"-- he had graduated from the New England Conservatory at Boston--asked him [Ives' father] why with his sensitive ear he liked to sit down and beat out dissonances on the piano. "Well," he answered, "I may have absolute pitch, but, thank God, that piano hasn't." One afternoon, in a pouring thunderstorm, we saw him standing without hat or coat in the back garden; the church bell next door was ringing. He would rush into the house to the piano, and then back again. "I've heard a chord I've never heard before--it comes over and over but I can't seem to catch it." He stayed up most of the night trying to find it in the piano. It was soon after this that he started his quarter-tone machine. [p111]
36 TONE EQUAL TEMPERAMENT (BUSONI)