Seigneur Dieu ta pitié: Difference between revisions

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 ==

* [https://musescore.com/user/35276532/scores/6253635 Read the score on MuseScore.com]

[[Category:Meantone]]

[[Category:19edo]]

[[Category:Historical]]

[[Category:Listen]]