Seigneur Dieu ta pitié - Revision history

Zhenlige: /* External links */supolement

2025-06-13T18:43:23Z

External links: supolement

← Older revision		Revision as of 18:43, 13 June 2025
Line 9:		Line 9:
	[[Category:Meantone]]		[[Category:Meantone]]
	[[Category:19edo]]		[[Category:19edo]]
			[[Category:19edo tracks]]
	[[Category:Historical]]		[[Category:Historical]]
	[[Category:Listen]]		[[Category:Listen]]

Lucius Chiaraviglio: /* External links */ Give credit to the renderer of the recording on YouTube

2024-12-08T07:11:42Z

External links: Give credit to the renderer of the recording on YouTube

← Older revision		Revision as of 07:11, 8 December 2024
Line 3:		Line 3:

	== External links ==		== External links ==
	* [https://www.youtube.com/watch?v=wT6-Ndx1EbM Listen on YouTube]		* [https://www.youtube.com/watch?v=wT6-Ndx1EbM Listen on YouTube] (rendered by Roger Wibberley, 2012)
	* [https://musescore.com/user/35276532/scores/6253635 Read the score on MuseScore.com]		* [https://musescore.com/user/35276532/scores/6253635 Read the score on MuseScore.com]

FloraC: Displaytitle

2024-03-02T09:03:57Z

Displaytitle

← Older revision		Revision as of 09:03, 2 March 2024
Line 1:		Line 1:
			{{DISPLAYTITLE:''Seigneur Dieu ta pitié''}}
	The remarkable {{w\|Chanson\|''chanson''}}, '''''Seigneur Dieu ta pitié''''' by {{w\|Guillaume Costeley}}, was written with instructions that it was to be performed so that the [[9/8\|tone]] was exactly divided into three equal parts, which entails the [[diatonic semitone]] must be exactly twice as large as the [[chromatic semitone]]. This leads to an exact division of the octave into 19 equal parts, [[19edo]]. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist {{w\|Francisco de Salinas}} effectively defined the same system by way of [[1/3-comma meantone]], which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book ''De musica libri septem'' did not appear until 1577. Costeley, like {{w\|Nicola Vicentino}} who served as his inspiration, was a true pioneer, well ahead of his time and perhaps ours as well.		The remarkable {{w\|Chanson\|''chanson''}}, '''''Seigneur Dieu ta pitié''''' by {{w\|Guillaume Costeley}}, was written with instructions that it was to be performed so that the [[9/8\|tone]] was exactly divided into three equal parts, which entails the [[diatonic semitone]] must be exactly twice as large as the [[chromatic semitone]]. This leads to an exact division of the octave into 19 equal parts, [[19edo]]. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist {{w\|Francisco de Salinas}} effectively defined the same system by way of [[1/3-comma meantone]], which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book ''De musica libri septem'' did not appear until 1577. Costeley, like {{w\|Nicola Vicentino}} who served as his inspiration, was a true pioneer, well ahead of his time and perhaps ours as well.

FloraC: Linking

2024-03-02T09:00:35Z

Linking

← Older revision		Revision as of 09:00, 2 March 2024
Line 1:		Line 1:
	The remarkable ''chanson'', ''Seigneur Dieu ta pitié'' by Guillaume Costeley, was written with instructions that it was to be performed so that the tone was exactly divided into three equal parts, which entails the diatonic semitone must be exactly twice as large as the chromatic semitone. This leads to an exact division of the octave into 19 equal parts, [[19edo]]. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist Francisco de Salinas effectively defined the same system by way of 1/3-comma meantone, which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book ''De musica libri septem'' did not appear until 1577. Costeley, like Nicola Vicentino who served as his inspiration, was a true pioneer, well ahead of his time and perhaps ours as well.		The remarkable {{w\|Chanson\|''chanson''}}, '''''Seigneur Dieu ta pitié''''' by {{w\|Guillaume Costeley}}, was written with instructions that it was to be performed so that the [[9/8\|tone]] was exactly divided into three equal parts, which entails the [[diatonic semitone]] must be exactly twice as large as the [[chromatic semitone]]. This leads to an exact division of the octave into 19 equal parts, [[19edo]]. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist {{w\|Francisco de Salinas}} effectively defined the same system by way of [[1/3-comma meantone]], which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book ''De musica libri septem'' did not appear until 1577. Costeley, like {{w\|Nicola Vicentino}} who served as his inspiration, was a true pioneer, well ahead of his time and perhaps ours as well.

	== External links ==		== External links ==

	* [https://www.youtube.com/watch?v=wT6-Ndx1EbM Listen on YouTube]		* [https://www.youtube.com/watch?v=wT6-Ndx1EbM Listen on YouTube]
	* [https://musescore.com/user/35276532/scores/6253635 Read the score on MuseScore.com]		* [https://musescore.com/user/35276532/scores/6253635 Read the score on MuseScore.com]

	[[Category:Composition]]		[[Category:Composition]]
	[[Category:Meantone]]		[[Category:Meantone]]

BudjarnLambeth: Categorised this uncategorised page

2023-04-27T00:37:06Z

Categorised this uncategorised page

← Older revision		Revision as of 00:37, 27 April 2023
Line 3:		Line 3:
	== External links ==		== External links ==

	* [~~http~~://www.youtube.com/watch?v=wT6-Ndx1EbM Listen on YouTube]		* [https://www.youtube.com/watch?v=wT6-Ndx1EbM Listen on YouTube]
	* [https://musescore.com/user/35276532/scores/6253635 Read the score on MuseScore.com]		* [https://musescore.com/user/35276532/scores/6253635 Read the score on MuseScore.com]
			[[Category:Composition]]
			[[Category:Meantone]]
			[[Category:19edo]]
			[[Category:Historical]]
			[[Category:Listen]]

Fredg999: Forgot to replace the link in the previous edit

2021-07-23T23:06:27Z

Forgot to replace the link in the previous edit

← Older revision		Revision as of 23:06, 23 July 2021
Line 4:		Line 4:

	* [http://www.youtube.com/watch?v=wT6-Ndx1EbM Listen on YouTube]		* [http://www.youtube.com/watch?v=wT6-Ndx1EbM Listen on YouTube]
	* [~~http~~://~~micro.soonlabel~~.com/~~gene_ward_smith~~/~~misc~~/~~Guillaume%20Costeley%20-%20Seigneur%20Dieu%20ta%20piti%e9.mp3~~ Read the score on MuseScore.com]		* [https://musescore.com/user/35276532/scores/6253635 Read the score on MuseScore.com]

Fredg999: Removed dead link (no archived version found), added link to score, misc. changes

2021-07-23T23:05:45Z

Removed dead link (no archived version found), added link to score, misc. changes

← Older revision		Revision as of 23:05, 23 July 2021
Line 1:		Line 1:
	The remarkable ''chanson'', ''Seigneur Dieu ta pitié'' by Guillaume Costeley, was written with instructions that it was to be performed so that the tone was exactly divided into three equal parts, which entails the diatonic semitone must be exactly twice as large as the chromatic semitone. This leads to an exact division of the octave into 19 equal parts, [[~~19edo\|~~19edo]]. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist Francisco de Salinas effectively defined the same system by way of 1/3-comma meantone, which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book ''De musica libri septem'' did not appear until 1577. Costeley, like Nicola Vicentino who served as his inspiration, was a true pioneer, well ahead of his time and perhaps ~~outs~~ as well.		The remarkable ''chanson'', ''Seigneur Dieu ta pitié'' by Guillaume Costeley, was written with instructions that it was to be performed so that the tone was exactly divided into three equal parts, which entails the diatonic semitone must be exactly twice as large as the chromatic semitone. This leads to an exact division of the octave into 19 equal parts, [[19edo]]. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist Francisco de Salinas effectively defined the same system by way of 1/3-comma meantone, which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book ''De musica libri septem'' did not appear until 1577. Costeley, like Nicola Vicentino who served as his inspiration, was a true pioneer, well ahead of his time and perhaps ours as well.

	[http://www.youtube.com/watch?v=wT6-Ndx1EbM ~~Seigneur Dieu ta pitié~~] [http://micro.soonlabel.com/gene_ward_smith/misc/Guillaume%20Costeley%20-%20Seigneur%20Dieu%20ta%20piti%e9.mp3 ~~play~~]		== External links ==

			* [http://www.youtube.com/watch?v=wT6-Ndx1EbM Listen on YouTube]
			* [http://micro.soonlabel.com/gene_ward_smith/misc/Guillaume%20Costeley%20-%20Seigneur%20Dieu%20ta%20piti%e9.mp3 Read the score on MuseScore.com]

Wikispaces>FREEZE at 00:00, 17 July 2018

2018-07-17T00:00:00Z

← Older revision		Revision as of 00:00, 17 July 2018
Line 1:		Line 1:
	~~<h2>IMPORTED REVISION FROM WIKISPACES</h2>~~		The remarkable ''chanson'', ''Seigneur Dieu ta pitié'' by Guillaume Costeley, was written with instructions that it was to be performed so that the tone was exactly divided into three equal parts, which entails the diatonic semitone must be exactly twice as large as the chromatic semitone. This leads to an exact division of the octave into 19 equal parts, [[19edo\|19edo]]. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist Francisco de Salinas effectively defined the same system by way of 1/3-comma meantone, which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book ''De musica libri septem'' did not appear until 1577. Costeley, like Nicola Vicentino who served as his inspiration, was a true pioneer, well ahead of his time and perhaps outs as well.
	~~This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>~~
	~~: This revision was by author [[User:genewardsmith\|genewardsmith]] and made on <tt>2012-10-28 12:28:05 UTC</tt>.<br>~~
	~~: The original revision id was <tt>377069534</tt>.<br>~~
	~~: The revision comment was: <tt></tt><br>~~
	~~The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>~~
	~~<h4>Original Wikitext content:</h4>~~
	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">The remarkable //chanson//, //Seigneur Dieu ta pitié// by Guillaume Costeley, was written with instructions that it was to be performed so that the tone was exactly divided into three equal parts, which entails the diatonic semitone must be exactly twice as large as the chromatic semitone. This leads to an exact division of the octave into 19 equal parts, [[19edo]]. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist Francisco de Salinas effectively defined the same system by way of 1/3-comma meantone, which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book //De musica libri septem// did not appear until 1577. Costeley, like Nicola Vicentino who served as his inspiration, was a true pioneer, well ahead of his time and perhaps outs as well.

	[[http://www.youtube.com/watch?v=wT6-Ndx1EbM\|Seigneur Dieu ta pitié]~~] [~~[http://micro.soonlabel.com/gene_ward_smith/misc/Guillaume%20Costeley%20-%20Seigneur%20Dieu%20ta%20piti%e9.mp3\|play]~~]</pre></div>~~		[http://www.youtube.com/watch?v=wT6-Ndx1EbM Seigneur Dieu ta pitié] [http://micro.soonlabel.com/gene_ward_smith/misc/Guillaume%20Costeley%20-%20Seigneur%20Dieu%20ta%20piti%e9.mp3 play]
	~~<h4>Original HTML content:</h4>~~
	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Seigneur Dieu ta pitié</title></head><body>The remarkable <em>chanson</em>, <em>Seigneur Dieu ta pitié</em> by Guillaume Costeley, was written with instructions that it was to be performed so that the tone was exactly divided into three equal parts, which entails the diatonic semitone must be exactly twice as large as the chromatic semitone. This leads to an exact division of the octave into 19 equal parts, <a class="wiki_link" href="/19edo">19edo</a>. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist Francisco de Salinas effectively defined the same system by way of 1/3-comma meantone, which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book <em>De musica libri septem</em> did not appear until 1577. Costeley, like Nicola Vicentino who served as his inspiration, was a true pioneer, well ahead of his time and perhaps outs as well.<br />
	~~<br />~~
	<a class="wiki_link_ext" href="http://www.youtube.com/watch?v=wT6-Ndx1EbM" rel="nofollow">Seigneur Dieu ta pitié</a> <a class="wiki_link_ext" href="http://micro.soonlabel.com/gene_ward_smith/misc/Guillaume%20Costeley%20-%20Seigneur%20Dieu%20ta%20piti%e9.mp3" rel="nofollow">play</a></body></html></pre></div>

Wikispaces>genewardsmith: Imported revision 377069534 - Original comment:

2012-10-28T12:28:05Z

**Imported revision 377069534 - Original comment: **

Wikispaces>genewardsmith: Imported revision 377069450 - Original comment:

2012-10-28T12:27:39Z

**Imported revision 377069450 - Original comment: **

New page

<h2>IMPORTED REVISION FROM WIKISPACES</h2>
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
: This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2012-10-28 12:27:39 UTC</tt>.<br>
: The original revision id was <tt>377069450</tt>.<br>
: The revision comment was: <tt></tt><br>
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
<h4>Original Wikitext content:</h4>
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">The remarkable //chanson//, //Seigneur Dieu ta pitié// by Guillaume Costeley, was written with instructions that it was to be performed so that the tone was exactly divided into equal parts, which entails the diatonic semitone must be exactly twice as large as the chromatic semitone. This leads to an exact division of the octave into 19 equal parts, [[19edo]]. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist Francisco de Salinas effectively defined the same system by way of 1/3-comma meantone, which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book //De musica libri septem// did not appear until 1577. Costeley, like Nicola Vicentino who served as his inspiration, was a true pioneer, well ahead of his time and perhaps outs as well.

[[http://www.youtube.com/watch?v=wT6-Ndx1EbM|Seigneur Dieu ta pitié]] [[http://micro.soonlabel.com/gene_ward_smith/misc/Guillaume%20Costeley%20-%20Seigneur%20Dieu%20ta%20piti%e9.mp3|play]]</pre></div>
<h4>Original HTML content:</h4>
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Seigneur Dieu ta pitié</title></head><body>The remarkable <em>chanson</em>, <em>Seigneur Dieu ta pitié</em> by Guillaume Costeley, was written with instructions that it was to be performed so that the tone was exactly divided into equal parts, which entails the diatonic semitone must be exactly twice as large as the chromatic semitone. This leads to an exact division of the octave into 19 equal parts, <a class="wiki_link" href="/19edo">19edo</a>. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist Francisco de Salinas effectively defined the same system by way of 1/3-comma meantone, which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book <em>De musica libri septem</em> did not appear until 1577. Costeley, like Nicola Vicentino who served as his inspiration, was a true pioneer, well ahead of his time and perhaps outs as well.<br />
<br />
<a class="wiki_link_ext" href="http://www.youtube.com/watch?v=wT6-Ndx1EbM" rel="nofollow">Seigneur Dieu ta pitié</a> <a class="wiki_link_ext" href="http://micro.soonlabel.com/gene_ward_smith/misc/Guillaume%20Costeley%20-%20Seigneur%20Dieu%20ta%20piti%e9.mp3" rel="nofollow">play</a></body></html></pre></div>

← Older revision		Revision as of 12:28, 28 October 2012
Line 1:		Line 1:
	<h2>IMPORTED REVISION FROM WIKISPACES</h2>		<h2>IMPORTED REVISION FROM WIKISPACES</h2>
	This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>		This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
	: This revision was by author [[User:genewardsmith\|genewardsmith]] and made on <tt>2012-10-28 12:27:39 UTC</tt>.<br>		: This revision was by author [[User:genewardsmith\|genewardsmith]] and made on <tt>2012-10-28 12:28:05 UTC</tt>.<br>
	: The original revision id was <tt>~~377069450~~</tt>.<br>		: The original revision id was <tt>377069534</tt>.<br>
	: The revision comment was: <tt></tt><br>		: The revision comment was: <tt></tt><br>
	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
	<h4>Original Wikitext content:</h4>		<h4>Original Wikitext content:</h4>
	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">The remarkable //chanson//, //Seigneur Dieu ta pitié// by Guillaume Costeley, was written with instructions that it was to be performed so that the tone was exactly divided into equal parts, which entails the diatonic semitone must be exactly twice as large as the chromatic semitone. This leads to an exact division of the octave into 19 equal parts, [[19edo]]. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist Francisco de Salinas effectively defined the same system by way of 1/3-comma meantone, which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book //De musica libri septem// did not appear until 1577. Costeley, like Nicola Vicentino who served as his inspiration, was a true pioneer, well ahead of his time and perhaps outs as well.		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">The remarkable //chanson//, //Seigneur Dieu ta pitié// by Guillaume Costeley, was written with instructions that it was to be performed so that the tone was exactly divided into three equal parts, which entails the diatonic semitone must be exactly twice as large as the chromatic semitone. This leads to an exact division of the octave into 19 equal parts, [[19edo]]. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist Francisco de Salinas effectively defined the same system by way of 1/3-comma meantone, which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book //De musica libri septem// did not appear until 1577. Costeley, like Nicola Vicentino who served as his inspiration, was a true pioneer, well ahead of his time and perhaps outs as well.

	[[http://www.youtube.com/watch?v=wT6-Ndx1EbM\|Seigneur Dieu ta pitié]] [[http://micro.soonlabel.com/gene_ward_smith/misc/Guillaume%20Costeley%20-%20Seigneur%20Dieu%20ta%20piti%e9.mp3\|play]]</pre></div>		[[http://www.youtube.com/watch?v=wT6-Ndx1EbM\|Seigneur Dieu ta pitié]] [[http://micro.soonlabel.com/gene_ward_smith/misc/Guillaume%20Costeley%20-%20Seigneur%20Dieu%20ta%20piti%e9.mp3\|play]]</pre></div>
	<h4>Original HTML content:</h4>		<h4>Original HTML content:</h4>
	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Seigneur Dieu ta pitié</title></head><body>The remarkable <em>chanson</em>, <em>Seigneur Dieu ta pitié</em> by Guillaume Costeley, was written with instructions that it was to be performed so that the tone was exactly divided into equal parts, which entails the diatonic semitone must be exactly twice as large as the chromatic semitone. This leads to an exact division of the octave into 19 equal parts, <a class="wiki_link" href="/19edo">19edo</a>. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist Francisco de Salinas effectively defined the same system by way of 1/3-comma meantone, which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book <em>De musica libri septem</em> did not appear until 1577. Costeley, like Nicola Vicentino who served as his inspiration, was a true pioneer, well ahead of his time and perhaps outs as well.<br />		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Seigneur Dieu ta pitié</title></head><body>The remarkable <em>chanson</em>, <em>Seigneur Dieu ta pitié</em> by Guillaume Costeley, was written with instructions that it was to be performed so that the tone was exactly divided into three equal parts, which entails the diatonic semitone must be exactly twice as large as the chromatic semitone. This leads to an exact division of the octave into 19 equal parts, <a class="wiki_link" href="/19edo">19edo</a>. This piece, dating from 1558, therefore represents the first time in history that 19 equal was specified as the desired tuning. The organist and music theorist Francisco de Salinas effectively defined the same system by way of 1/3-comma meantone, which has exactly pure minor thirds, but it is not clear he intended the circulating character of that temperament when played or performed on a gamut of 19 notes, which Costeley clearly did. In any case his book <em>De musica libri septem</em> did not appear until 1577. Costeley, like Nicola Vicentino who served as his inspiration, was a true pioneer, well ahead of his time and perhaps outs as well.<br />
	<br />		<br />
	<a class="wiki_link_ext" href="http://www.youtube.com/watch?v=wT6-Ndx1EbM" rel="nofollow">Seigneur Dieu ta pitié</a> <a class="wiki_link_ext" href="http://micro.soonlabel.com/gene_ward_smith/misc/Guillaume%20Costeley%20-%20Seigneur%20Dieu%20ta%20piti%e9.mp3" rel="nofollow">play</a></body></html></pre></div>		<a class="wiki_link_ext" href="http://www.youtube.com/watch?v=wT6-Ndx1EbM" rel="nofollow">Seigneur Dieu ta pitié</a> <a class="wiki_link_ext" href="http://micro.soonlabel.com/gene_ward_smith/misc/Guillaume%20Costeley%20-%20Seigneur%20Dieu%20ta%20piti%e9.mp3" rel="nofollow">play</a></body></html></pre></div>