We are actively exploring the interaction of highly chromatic key centers against various historical and modern temperaments to determine the ideal aesthetic for the concert. Below are the theoretical tension scores (1 = Pure, 10 = Wolf) mapped across the 14 recital pieces.
| # | Composer | Piece | Primary Key | ET | 1/4 Comma | Werckmeister III | Vallotti | Coleman 16 | Mild Victorian |
|---|---|---|---|---|---|---|---|---|---|
| 1 | Nazareth | Fon Fon | B♭ Major | 5 | 4 | 5 | 5 | 4 | 4 |
| 2 | Nazareth | Esta Chumbado | D♭ Major | 5 | 10 (Wolf) | 9 | 9 | 7 | 6 |
| 3 | Nazareth | Brejeiro | A Major | 5 | 3 | 7 | 6 | 5 | 5 |
| 4 | Nazareth | Jangadeiro | E♭ Major | 5 | 4 | 7 | 7 | 6 | 5 |
| 5 | Nazareth | Remando | A Major | 5 | 3 | 7 | 6 | 5 | 5 |
| 6 | Nazareth | Odeon | C♯ minor | 5 | 10 (Wolf) | 8 | 8 | 6 | 6 |
| 7 | Villa-Lobos | Terezinha de Jesus | C Major | 5 | 1 (Pure) | 2 | 3 | 2 | 4 |
| 8 | Villa-Lobos | A Condessa | F Major | 5 | 1 (Pure) | 2 | 3 | 3 | 4 |
| 9 | Villa-Lobos | Senhora Dona Sancha | D minor | 5 | 2 | 3 | 4 | 3 | 4 |
| 10 | Villa-Lobos | O Cravo Brigou | C Major | 5 | 1 (Pure) | 2 | 3 | 2 | 4 |
| 11 | Villa-Lobos | Pobre Cega | G♯ minor | 5 | 10 (Wolf) | 8 | 8 | 7 | 6 |
| 12 | Villa-Lobos | Passa Gavião | A Major | 5 | 3 | 7 | 6 | 5 | 5 |
| 13 | Villa-Lobos | Xô, Passarinho! | F minor | 5 | 5 | 8 | 7 | 7 | 6 |
| 14 | Villa-Lobos | Vamos Atrás da Serra, Calunga | D Major | 5 | 2 | 5 | 4 | 4 | 5 |
Analysis: ET maintains a flat emotional topography (constant score of 5). 1/4 Comma is perfectly pure in simple keys but broken (wolf) in remote keys. Werckmeister and Vallotti exhibit massive dynamic ranges of tension, injecting immense character into the remote keys of Nazareth and Villa-Lobos.
This recital analysis serves as the foundation for a broader research project exploring the intersection of late-Romantic/early-modern highly chromatic music and historical tuning systems.
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