Organ matters - Organs matter!

Prof. Daniel Glaus
Prof. Pascale Van Coppenolle



Engineering, instrument building and music history have revolutionized
organ building. A research project directed by the organist and composer
Daniel Glaus goes to the heart of the organ: to its wind. The organ's wind
has always represented the immutable principle of church music, but now
flexible wind opens a range of sonic possibilities that surpasses even the
boldest expectations. Three working prototypes were built of an organ
that can change its dynamics and timbre on the basis of key pressure,
thus leading to new possibilities in technique and expression. The organ
was developed using conventional mechanical construction techniques.
Particular attention was given to practical matters. The prototypes were
shown in many concerts, and compositions were commissioned that
made use of the new capabilities of the INNOV-ORGAN-UM. The project
generated great interest in the scientific community and in the musically
interested public. In November 2011, a fourth prototype in combination
with a conventional organ will be inaugurated in the city church in Biel.

An Organ Concert (not only) for Children


«Elfriede the Cherry»



Prof. Christiane Michel-Ostertun
Eva Martin-Schneider



After a story by Gerhard Engelsberger
Arranged by Eva Martin-Schneider
With music composed and performed by Christiane Michel-Ostertun
Elfriede the cherry is a very special cherry. She does not want to be eaten.
Instead, she learns English so that one day she can immigrate to Australia.
But everything turns out differently, because she falls in love with the
moon. Gerhard Engelsberger describes in his story just how she tries to
get to know the moon better and how the tired cherry finally turns into a
wonderful cherry tree.
This story is like «Peter and the Wolf» in that each character has her or
his own theme which we hear when the story speaks of that character.


What better way to become acquainted with the organ than with the help
of a story!


This special organ concert lasts about 30 minutes and is for all children
3 years old and older.


After the concert, Christiane Michel-Ostertun will speak of her other organ
concerts for children and will report on her experiences in numerous
concerts.

OBM Siegfried Adlberger, Organ advisor of the diocese Linz



The organ, for centuries indispensable in our churches, is obviously in
question. Thus, in recent years many parishes have acquired electronic
imitations. In the best case this imitation stands next to the organ so that
both instruments can be used, in the worst case however, the organ is
removed without replacement or disregarded when churches are being
altered or newly built.
The reasons mentioned are primarily economic and the seemingly barely
audible differences between imitation and organ, but also reasons of placement.
In addition, excellent solutions such as the installation of the Rudigier
organ in St. Mary's dome in Linz are hardly possible any more because
of monument protection reasons. Church music is similarly affected
as the instrument making.
The best reasons for organ acquisitions still are authenticity and sustainability.
If the organ is to remain the musical instrument of the future, all
are challenged : parishes, church leaders, musicians, architects charged
with church constructions and alterations, the monument protection authorities
and, last but not least, the organ builders who must give even
greater effort to produce instruments of high quality.

Presentation of an Interdisciplinary Project
of the Lucerne Music Academy
Prof. Elisabeth Zawadke and Students
of the Lucerne Music Academy



What motivates young composers today to write church music? To what
degree does the instrument itself inspire the youngest composer generation?
How do young organists prepare contemporary works for performance
and incorporate them into a liturgical framework?
These are questions that a workshop at the Hochschule Lucerne-Music
would like to consider more closely. At the suggestion of the organ class
of Elisabeth Zawadke, an interesting cooperative project took place at the
Department for Church Music (Markus Zemp, department head). Composition
students were introduced to the technical and acoustic details
of the organ as well as to questions of liturgy. They then wrote compositions
that dealt with both the instrument and with a given liturgical context.
Finally, the composers worked with students from the organ class
to prepare the pieces for performance. This lead to interesting exchanges
and often to quite surprising results.
The workshop would like to give you a closer look at this «newest church
music», with compositions by Maurus Conte, Lea Danzeisen und Jannik
Giger, played by Daniela Achermann, Heidi Bollhalder, Yuliya Sadykava
und Christina Tanner

Ways to the Organ in Church Community Life
Annegret Kleindopf



Since 2006, the project «Old Organs for Young People» is conducted at
the Stade Organ Academy with the generous support from the Evangelical
Lutheran Church of Hanover. In the organ landscape between the Elbe
and the Weser, children and adolescents are made familiar with the organs
of their native land and the entire region. The spread ranges from
organ tours for child and youth groups over a children's organ day up to
the annual Youth Organ Forum Stade which provides the opportunity for
the 12 to 18 years olds to deal in depth with the splendid instruments of
Stade and ist surroundings.
Approximately 20 participants from Germany and Great Britain come together
for a week. Morning and evening devotions arranged by young
people, lessons with renowned teachers, practising and a final concert
with all participants form the musical framework. In addition, all sing together,
friendships develop, and self-confidence and motivation are
strengthened.
Not having to hide in their own community and from their peers opens up
new perpectives for the young organists

Prof. Maria Rapp



Many things speak against learning the organ at an early age: particular
physical demands, piano skills whenever possible, difficult conditions for
practicing and a literature that is largely shaped by liturgical needs. Why
should young people today choose the organ as an instrument?
Can less limited stylistic models, unusual instrumental combinations or
digital instruments make the organ attractive for young people? How
might a digital «update» for organ teaching on music schools look?
Based on supply and demand, this paper hopes to contribute to the discussion
of the question whether organ teaching in music schools is
worthwhile and if yes, how such teaching might look in the future

Moderation Prof. Dr. Michael G. Kaufmann
Philipp Klais
Andreas Ladach
Prof. Rudolf Meyer
Prof. Dr. Johann Trummer



Organs have, aside from their artistic importance as a musical instrument,
also a great financial value: High mental, technical and financial
capabilities have to be mobilised to build an organ; the task often extends
over a long period and demands immense resources. As a rule, an organ
is designed for a very specific space (church, hall, parlour, cinema etc.)
in which it can develop its full tonal potential; this is its «home».
Although most of the instruments are of impressive construction they still
remain, in contrast to the immobile buildings they are in, a sort of «furniture
». In a way they therefore are «mobile» since they can be disassembled
and set up again elsewhere, should the external circumstances
change.
In this podium discussion, the resulting problems are to be debated and,
based thereon, appropriate decisions are to be made. The discussion will
also include the significance of the unity of space, instrument and sound,
selling organs in order to purchase a better instrument or out of necessity
and lack of money or other reasons, and the characteristics of a positivist-
oriented industry transforming the spiritual need of the people into
a dependance and exploiting this for its own sake.
Yet an organ is an individual – and deserves to be treated that way!

Moderation Prof. Dr. Alois Koch, Vicar General Dr. Josef Annen,
Prof. Dr. Ralph Kunz, Prof. Dr. Andreas Marti,
KMD Dr. Britta Martini,
Church Council President Pastor Michel Müller-Zwygart
acoustic refreshment: Music with
Nadja Räss, Jodel; Heinz della Torre, Hälmi;
Janosch Marini, Beatboxing; Feliciano Ponce, Rapper;
Wolfgang Sieber, Concept & Organ



The organ is still a church fixture and organ music still an integral part
of Christian worship. However, the integrity of this 1000-year old convention
is dwindling – at least in the church setting where other sounds are
increasingly being heard. The podium discussion on the organ in ecclesiastical
context seeks to express this topicality from the perspective of
pastors and church musicians, theologians and church councils. Furthermore,
perspectives of church organ music will be discussed – with the
involvement of questions on the future positioning of Christian worship
in our society.

Vicar General Dr. Josef Annen



Organists in Catholic Liturgy.
The Importance of Organ Music and Organists in Catholic Liturgy.
Observations and Experiences of a Practitioner

The Organist as a Church Employee
Prof. Dr. Andreas Marti



(«Es orgelt» is a German expression that literally means «it organs». It
is used approximately in the sense «the organ is played».)


«It organs» –
apparently organ music is perceived as impersonal. Behind this expression
lurks the dilemma between functionality and autonomy, between the
demands of the liturgy and those of the artist.
First functionality has to be defined. Once functionality is grasped in a
comprehensive fashion, it is seen to go beyond technical competence and
in fact to require artistic autonomy. In this way, the apparent dilemma becomes
a fascinating cooperation.

Moderation Prof. Mag. Dr. Wofgang Kreuzhuber
OBM Wolfgang Rehn
Dr. Nikolaus Könner
Drs. Paul Peeters



A commonplace about pipe organs is that they survive for centuries. But
it is still not universally accepted that organs require regular maintenance.
On the other hand, too much maintenance is counterproductive. Beware
the annual general tuning!
Changes in musical taste and temporary fads have often been responsible
for damage to historical instruments, especially when the instruments
represent a particular style, are part of a particular organ landscape or
are associated with a particular artistic personality. A change of organist
on an important organ and/or changing expectations in Church Music
have often led to major interventions in the conception of an existing instrument.
At the same time, removing proven defects can lead to meaningful improvement
of an instrument and hence to its increased estimation. The
history of organ building shows that changes in the original construction
motivated solely by personal preferences mean the beginning of the end
of an instrument.

Prof. Martin Sander



The future of the organ and organ playing in competition with all other
musical and non-musical offerings for church-goers and for the public
in general depends decisively on the expressivity our listeners find in organ
music. Looking back on the changes in interpretation that began
about a century ago, we can find both incentives and warnings for dealing
with the literature of various stylistic periods. Historical recordings document
the differences of the two most important competing schools of
interpretation: on the one hand, Karl Straube, who long continued the
principles of German Romanticism, on the other the Lemmens / Widor /
Dupré school. The latter cultivated from generation to generation an ever
greater emotional asceticism, particularly discarding fine variations of
tempo and rhythm as means of expression and reducing differentiated
articulation to an either/or between legato and staccato. These developments
find expression in Fernando Germani's application of the aesthetics
of Dupré to German Romanticism, especially to the works of Max Reger.
The changes in meaning, expression and effect of the music this provokes
are not without influence on the music's cultural significance.

On the Publication of Reports Addressing the Organ Situation in All European Countries
Dr. Markus T. Funck
Situation in the Baltic States, Külli Erikson
Situation in Portugal, Prof. Dr. João Vaz
Situation in Belgium, Prof. Dr. Jean Ferrard



The Zurich Symposium focuses on the present and the future of the organ
in Europe. Since the situation of the organ as an instrument is determined
by numerous regional and local factors, it has been our intention to record
the actual condition in the different European countries with the national
reports. For this, many authors have been attracted to descibe the situation
in their countries. This has been done with a text touching a number
of questions : The equipment of the churches with organs, the organ making
and the practice of organ restoration, the translocation of organs,
the organ playing in general and the training of organists and their professional
prospects. Furthermore, the situation of the conservatories and
music academies has been recorded, the concert business described and
child and youth development issues questioned.
For some countries, statistical data – if available and/or determinable –
was compiled in a spreadsheet. The result is a national report brochure
about the current organ situation in Europe.

A Questioning Inventory
Prof. Dr. Alois Koch



The question is symptomatic and would never be raised for any other instrument.
Whereto should the organ go? But the word «organ» means
just about everything: organist, organ music, organ building, functional
context, adoption and prestige. With no other instrument is its origin, history,
setting and audience as equally biased as with the organ, so that any
inventory, particularly a critical one, is confronted with prejudices and
specific expectations, with idealisation and ideologisation. The question
remains whether analytic involvement with such diverse premises can
create a foundation for a future understanding of the organ – in church
and worship, in the concert hall, in education, literature and in practice.

See http://www.organmatters.com/index.php/topic,855.msg4240.html#msg4240


Expert opinion suggests it was built about 1830 or shortly afterwards,   as it has a choir bass, a feature Renn introduced in 1829. We have yet   to discover its original location but it is older than the church it   stands in.
One expert said of this organ: It has a short compass   Tenor C Swell organ of very gentle voicing. The Great organ has a   splendid ringing tone.

Swell Organ (Tenor C)                      Great Organ
Double Diapason  16                     Open Diapason        8
Open Diapason     8                          Dulciana               8
Salicional        8*                              Stop Bass            8
Trumpet           8                              Claribel             8
Principal         4                                 Principal            4
Voix Celeste      8*                            Flute                4*
                                                        Gamba Bass           8*
                                                        Gamba                8*
                                                        Twelfth              2 2/3
                                                        Fifteenth            2
                                                        Sesquialtera        17th+

Pedal Organ
Bourdon          16

Couplers
Swell to Great
Great to Pedal

Compass
Manuals CC – F 54 notes, Pedals CCC – E 29 notes.

"Kick Stick" Swell operation.

*Non original pipework.     +The nineteenth and twenty second ranks have been removed.


Please contact member grinder12

Hi!


In chatting with a well known organ builder this morning I mentioned the exodus of two uneven tempered forum members over the weekend in response to a posting about the breadth of faith that accustomed home of organs can encompass including that of the unfortunately named Exodus Church.


We found agreement in a link between the decline of popularity of organs and organ music and the decline of perception of relevance of belief to popular daily life. . .


Why therefore should there be taboo of discussion of such a topic on an organ forum?


Best wishes


Forum Admin

This topic has been moved to Forum committee only.

http://www.organmatters.com/index.php?topic=812.0

Hi!

Looking at forum stats today, Giorgio Questa has surfaced as someone people are searching for. It appears that some recordings that Giorgio Questa did have turned up. He was a genuis and the CDs are significantly going to be worth buying.

Best wishes

Forum Admin


http://www.prestoclassical.co.uk/r/Dynamic/CDS687





http://www.dynamic.it/e_scheda.php?pid=831

Product Code: CDS687/
Title: From Frescobaldi to Brahms
Price: 27.60 €
Performer: Giorgio Questa, organ
Media: 4 CDs
A UNIQUE INSTRUMENT:
The organ that Giorgio Questa used to play is a rather singular instrument: it can be assembled and taken apart in just a few hours and is easily transported. In this sense it is a little like the old "portative" organ, though, despite its apparently small dimensions, its phonic structure is that of a common Italian organ of the sixteenth century.
The instrument is entirely in wood and completely mechanical. Giorgio Questa built it himself, piece by piece, following the same craftsman methods as the old master organ builders. It consists of 491 pipes in pine and chestnut. The keyboard, to which a pedalboard is added has four octaves.
Its stops (Principal in pine, Octave, Fifteenth, Nineteenth, Twenty-second, Fiffaro/Cornetta, Night Horn in VIII, Wood Flute in XII, Twenty-sixth, Twentyninth) are the ones that are typical of Italian organ art in the classical period. Two small accessories, "passero e passera" imitate birdsong, following ancient organ traditions.
The squirrel tail reminds us of the ancient "fox tail" that overhangs the organist, with the curious addition of a lever inscribed "noli me tangere". A pulley pedal enables free combination of the stops.

BIOGRAPHY
Giorgio Questa was born in Genoa to a family of musicians and was given his first lessons in music by his father. He studied the piano with Nicolay Klepikoff, and dedicated himself to chamber music. At the same time he became interested in vocal polyphony and in the organ-building art.
In 1966, at the "Internationale Zomeracademie voor Organisten" in Haarlem, Holland, he took part in a course held by Maria-Claire Alain on French organ music, and completed the construction of his mechanical organ with wooden pipes, fruit of his fascination with the art of Italian organ building in the sixteenth and seventeenth centuries.
Travelling with his instrument, Giorgio Questa played in Italy and in Europe, in recitals and as a soloist with symphonic orchestras (Bucharest, Florence, Ljubljana, Madrid, Mainingen, Turin and Trieste) and with chamber ensembles (the Camerata Accademica of the Mozarteum in Salzburg, I Solisti Veneti, the Mainzer Kammerorchester, the Stuttgarter Kammerorchester) and with conductors like Igor Markevitch, Karl Münchingerk, John Pritchard and Sàndor Vegh.
After hearing him perform, Igor Markevitch invited him to play Haydn's Organ Concerto in C major (1756) with the Orquesta de RTV Española at the Teatro Real in Madrid.
He made recordings for Dynamic and held courses on the performance of Italian fifteenth and sixteenth-century organ music (in particular Frescobaldi) at the Conservatories of Fontainebleau (where Nadia Boulanger invited him five years in a row) and of La Chaux-de-Fonds, Città del Castello and at the AMOR in Assisi.
His artistic and musical evolution was determined by his encounters with Nadia Boulanger, Mieczyslaw Horszowski, Igor Markevitch, Michael Noble, Sándor Vegh and Narciso Yepes.
Questa played exclusively on organs with mechanical transmission and his performances were based essentially on autograph manuscripts and original prints.
Formerly president of the Commission for the safeguard of artistic organs in Liguria, he died in his native town on 11 June 2010.

"My dear friend Questa... Certainly the organ is a masterpiece, but you are a masterpiece too!... I have just come back from Paris where I spoke about you with Nadia Boulanger... one of the people alive today who knows most about music... an extraordinary personality..."
(from: letters by Igor Markevitch)

"Dear Mr Questa... A miracle!... I did not dare believe that you would come to Fontainebleau this summer... Your forthcoming presence at Fontainebleau lends a very precise character to the whole session... I give great importance to your presence... a real joy, this music favoured by such a pure instrument..."
"[...] You are most eagerly awaited in Paris, I can't wait to talk to you about what links us so deeply: Frescobaldi, performance of his music, your instrument, the way you play, your dreams, in a word music and you, you and music..."
"Dear Giorgio... You have gone but you have not left Fontainebleau, because we hold on to your presence as something precious... Your presence is still alive in the School and in my heart... You have left such a strong memory, made such an impression at Fontainebleau!... We are still talking about you, what you are and what you do have a special place in my memories..."
"Frescobaldi's works fascinate me... It would be a real joy if once again you could bring back to life these works that are all too often left in silence... This truly beautiful sound and the light cast on such a great musician thanks to you... Know that from now on you will always be present at Fontainebleau."
(from: letters by Nadia Boulanger)

Hi!


Regretfully a member especially keen on cinema organs threw the baby out with the bathwater in deleting his membership of the forum for his own reasons and deleting all his hard work in postings.


This was regrettable as whilst he felt that the forum did not pay enough attention to cinema organs, it is intended to be comprehensive and inclusive of all aspects of the instrument and provide a corpus of resources.


Resources gleaned from Google cache of his postings include:


http://www.tccoc.moonfruit.com/ The Cannock Chase Organ Club


Hauptwerk: Hauptwerk may not be so difficult as you may think. http://www.youtube.com/watch?v=SJ4es3HOdzQ  this video surprised me with how easy it is to add midi to a console.


The quality of the Roland Atelier organs has always taken me by surprise, especially the sound quality. I thought I`d share this with the group.
http://www.youtube.com/watch?v=kKdLFPS5Jbo


Another place to visit if you like fair organs is the Thursford Collection http://www.thursford.com/thursford-collection-main.aspx
Its not too difficult to make a fair organ of your own either. Its tempting.

---

6
Organ concerts / Re: Ayr Town Hall[size=0.85em]« on: June 08, 2011, 05:49:03 PM »[/size]
Damage to the organ is minimal. The weekly Monday recitals have the go ahead as follows
JUNE:-
Monday 13th - Bill Hutcheson
Monday 20th - John Turner
Monday 27th - David Hamilton

JULY:-
Monday 4th -  Jim Cosker
Monday 11th - Ben Fowler
Monday 18th - Bill Hutcheson
Monday 25th - John Turner

AUGUST:-
Monday 1st - Archie Thom
Monday 8th - Gordon Cree
Monday 15th - John Turner
Monday 22nd - Matthew Hynes
Monday 29th - Duncan Sinclair

SEPTEMBER:-
Monday 5th:- David Hamilton
Monday 12th:- Jim Cosker
Monday 19th:- No concert, Hall closed.
Monday 26th:- Gordon Cree with a selection of sports related music

OCTOBER:-
Monday 3rd- Jim Colvin
Monday 10th - Andy Shearer
Monday 17th- Geoffrey Woollatt
Monday 24th - Bill Hutcheson
Monday 31st- Jim Cosker

NOVEMBER :-
Monday 28th- Andrew Shearer - St Andrews Day Celebrations

Doors open at 12:30 pm, Concert starts at 1pm (Ends 2pm). Admission £2



YouTube and other MP3 recordings of organs and organ music or other music of relevance / Re: Yet more publicity- MAINSTREAM[size=0.85em]« on: June 04, 2011, 02:59:23 PM »[/size]http://www.youtube.com/watch?v=AbKdeGmvB9c  For those who havent heard Jean in concert

I hope everyone on the site will vote for her tonight in the finals


Organ tuition / Re: Member seeking organ tuition in the Wolverhampton area[size=0.85em]« on: June 01, 2011, 04:39:58 PM »[/size]http://tccoc.moonfruit.com/#/contact-links/4549895065 Try contacting Steve Tovey who should be able to help out in some way.


There was a particularly interesting post with a YouTube link to a cinema organ at Blackpool with the mics placed in or near the pipe chambers with the remark that the tremulant sounded slow: Luckily one of the links was quoted in the post in reply on:

http://www.organmatters.com/index.php/topic,758.msg3806.html

It is hoped that this member does rejoin the forum in due course, but with a tolerance for the existence of more "conventional" types of organ which he appeared to want to exclude in promotion of Wurlitzer supremacy.



However, seeing that the member deleted some posts entirely and edited others to "blank", leaving the work of others in responses as wasted orphaned posts, his action was not one of kindness nor respect to others. We are told that the member was entroubled on another organ forum and we hope that he may find guidance towards a more positive outlook in which his talents and enthusiasms may flourish.

Best wishes,

Forum Admin

Hi!


http://www.casacota.net/teranyina?num=1129320687 gives cent differences of tunings.


In many tunings C is sharp with respect to A so tuning from C=256 would lead to a lower A. Were an instrument then tuned from A and by another from C, A would end up raised . . .


Were we to tune to C=256, which temperament would bring A to 432 or whatever the magic number is that some people like?


These lists are used for Hauptwerk
http://www.meteopallars.com/2x2/tremp.pl


best wisehs


Forum Admin


Evolució del tremp des de l'edat mitja fins als nostres dies

Llista dels tremps més importants i extesos
 
Nota: en la fila "Corr" trobes la desviació en cents respecte de l'escala trempada.

Aquests tremps els pots obtenir programant amb els valors corresponents algun instrument que ho permeti, com el Yamaha  PSR-540
 
Afinació de l'escola de Notre Dame (edat mitja) ("desigual")
 

Nota:

C

C#

D

Eb

E

F

F#

G

G#

A

Bb

B

C

Ratios:

1/1

2187/2048

9/8

32/27

81/64

4/3

729/512

3/2

128/81

27/16

16/9

243/128

2/1

Corr:

0

14

4

-6

8

-2

12

2

-8

6

-4

10

0

 
 
Pitagòric segons Henri Arnaut de Zwolle (ca. 1400-1466), Compositio timbriae, quod est initium organorum et clavichordiorum, ca. 1440
 

Nota:	C	C#	D	Eb	E	F	F#	G	G#	A	Bb	B	C
Corr:	0	-9	2	-5	6	-3	-11	1	-6	3	-5	8	0

 
 
Mesotònic de 1/3 de coma, Francisco Salinas, De Musica, Salamanca 1577
 

Nota:	C	C#	Db	D	D#	Eb	E	F	F#	Gb	G	G#	Ab	A	A#	Bb	B	C
Corr:	0	-37	26	-10	-47	16	-21	5	-32	32	-5	-42	21	-16	-53	10	-26	0

 
 
Mesotònic de 2/7 de coma, Francisco Salinas, De Musica, Salamanca 1577

(utilitzat per llaüts i violes segurament encara en temps posteriors)
 

Nota:	C	C#	D	Eb	E	F	F#	G	G#	A	Bb	B	C
Corr:	0	-31	-8	13	-17	4	-25	-4	-34	-12	9	-21	0

 
 
Mesotònic de 1/4 de comma, Pietro Aaron, Thoscanello de la musica, Venècia 1523
 

Nota:	C	C#	D	Eb	E	F	F#	G	G#	A	Bb	B	C
Corr:	0	-24	-7	10	-14	3.5	-20	-3	-21	-10	7	-17	0

 
 
Andreas Werckmeister (1645-1706) III ("desigual")
 

Nota:	C	C#	D	Eb	E	F	F#	G	G#	A	Bb	B	C
Corr:	0	-10	-8	-6	-10	-2	-12	-4	-8	-12	-4	-8	0

 
 
Leonhard Euler (1739)  ("desigual amb el setè harmònic enlloc del siB")
 

Nota:	C	C#	D	Eb	E	F	F#	G	G#	A	Bb	B	C
Corr:	0	-30	4	-26	-14	-2	-10	2	-28	-16	-24	-12	0

 
 
Johann Philipp Kirnberger (1721-1783)  ("wohltemperiert")
 

Nota:	C	C#	D	Eb	E	F	F#	G	G#	A	Bb	B	C
Corr:	0	-10	-7	-6	-14	-2	-12	2	-8	-16	-4	-12	0

 
 
Johann Philipp Kirnberger (1721-1783)  ("desigual")
 

Nota:	C	C#	D	Eb	E	F	F#	G	G#	A	Bb	B	C
Corr:	0	-10	4	-6	-14	-2	-10	2	-8	-5	-4	-12	0

 
 
Mesotònic de 1/6 de coma, segle 18 ("rococó")
 

Nota:	C	C#	D	Eb	E	F	F#	G	G#	A	Bb	B	C
Corr:	0	-13	-4	5	-7	2	-11	-2	-14	-5	4	-9	0

 
 
Mesotònic de 1/9 de coma, ca. 1780-1970
 

Nota:	C	C#	D	Eb	E	F	F#	G	G#	A	Bb	B	C
Corr:	0	-4	-1	2	-2	1	-4	-1	-5	-2	1	-3	0

 
 
Valloti-Young 1799 ("desigual")
 

Nota:	C	C#	D	Eb	E	F	F#	G	G#	A	Bb	B	C
Corr:	0	-6	-4	-3	-8	0	-8	-2	-4	-6	0	-8	0

 

 
 
tremp uniforme actual (=mesotònic de 1/12 de coma)
 

Nota:	C	C#	D	Eb	E	F	F#	G	G#	A	Bb	B	C
Corr:	0	0	0	0	0	0	0	0	0	0	0	0	0