Exploring the counterpoint in J. S. Bach's Fugue in F minor BWV 881 (tuned to the Young temperament) by visualising the harmonically interdependent right and left hand parts of the Prelude each as a ‘Whitney Rose’ figure with a third, central rose displaying the harmonic relationship between them.
This is a next stage development of a piece that featured as part of a performance at Seeing Sound 3, Bath Spa University, UK, 24th November 2013.
While Bach’s harpsichord may not have been tuned to 12-ET tuning - the MIDI file is. So I've attempted to forge a more 'coherent' relationship between the music and the visualisation by using a custom-made micro-tuning device developed using a Teensy 2.0 to 'retune' the MIDI score to a Just Intonation based scale proposed by Thomas Young circa 1799.
Within the OpenFrameworks visualising sketch I compare the incoming 'retuned' notes of the Bach fugue played via Ableton Live 9, with the left and right-hand parts separated onto their own MIDI ports. I compare the successive notes of each of these parts to an F3 tonic for the left and F4 tonic for the right hand part and ‘scrub’ each respective ‘Rose’ to that specific point along it’s progression i.e. if the incoming note was an octave below the tonic the ratio would be 0.5 - half way along the algorithm timeline. Finally, I calculate the ratio between the last incoming note from each part and use this value to ‘scrub’ the central Rose to that specific point along it’s timeline.
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