221928
cool effect when the brighter instruments that come in toward the end, the tuning really makes a difference for those
This composition is using the Euler-Fokker genus 45 musical scale, named after Leonhard Euler and Adriaan Fokker. It is a scale in just intonation which ratios are:
9/8
5/4
45/32
3/2
15/8
2/1
It was discovered with https://sevish.com/scaleworkshop (it's one of the sample configuration).
There are only 6 notes, and it variates from equal temperament this way:
C4 = D#3 - 12 cents
C#4 = E3 + 10 cents
D4 = G#3 - 16 cents
D#4 = A3 + 0 cents
E4 = B3 + 10 cents
F4 = C#4 - 12 cents
F#4 = D#4 - 12 cents
G4 = E4 + 10 cents
G#4 = G# - 16 cents
A4 = A4 + 0 cents
A#4 = B4 + 10 cents
B4 = C#4 - 12 cents
If we translate it to a "normal" scale, I suppose it can be considered "G# phrygian" : G# A B C# D# E F# (without the F#)
ZynAddSubFX can load such scales and so I've composed and rendered the whole song using it. (I'm not very satisfied with some sounds, especially the percussive parts, but Zyn doesn't skip with many percussions)
This way my keyboard was re-tuned to the whole new scale, allowing to gain extra creativity, but in return the recorded notes are the one played on keyboard, not the one from the scale.
I was curious to play it with a normal, tempered tuning, so I've made a script to convert the midi file to the "real, closest notes":
https://gist.github.com/farvardin/1b60d1540a7b58466c75ea55e83b5c13#file-convert_euler_fokker_to_standard-sh
It sounds very close to the just intonation, but yet we can spot some differences.