You have seen many short FJS examples in the crash course and the formal description, as well as some longer ones in the comparison. If you haven’t seen them yet, make sure to check those out first. This page contains even more longer examples of the FJS in usage.
This is a rendition of Johann Sebastian Bach’s Prelude in C Major, BWV 846, from The Well-Tempered Clavier Book I. It uses the following tuning conventions:
- 4:5:6(:15) for major triads (seventh chords);
- 10:12:15(:18) for minor triads (seventh chords);
- 4:5:6:7 for dominant seventh chords;
- 10:12:14:17 for diminished seventh chords.
An FJS key signature is also exemplified.
Listen to it:
Here you’ll find a chorale which simultaneously compares the FJS against Helmholtz-Ellis and Ben Johnston. Listen to it below:
Surely you’ve seen the introductory video for the FJS, which I’ve placed on the main page. Here, you can see a score of the music used in it, written of course in the FJS, also with a comparison.
(*) Note about the score: It’s not possible to write the 101st harmonic in either Helmholtz-Ellis or Johnston. Instead, the score reads 128/81 (Helmholtz-Ellis) or 8/5 (Johnston) at that position.
All the three above examples can also be found in video form:
This interpretation of Steve Reich’s Electric Counterpoint in 5-limit Just Intonation uses the 5-limit Tonnetz written in the FJS to visualize the tuning.
This piano cover of the Minecraft soundtrack in 7-limit Just Intonation also visualizes its tuning lattices in the FJS.
Note and Interval Naming
Harry Partch’s 43-tone Genesis Scale
Dante Rosati’s 21-tone Scale
Michael Harrison’s Revelation Tuning
Terry Riley’s Harp of New Albion Tuning
La Monte Young’s Well-Tuned Piano Tuning
Harry Partch’s 11-limit Tonality Diamond
JI Extensions of the Major Scale
Pythagorean Major Scale (7 notes)
C, D, E, F, G, A, B, C
Ptolemy’s Intense Diatonic (7 notes)
C, D, E5, F, G, A5, B5, C
Ptolemy’s Intense Diatonic, with usable ii chord (8 notes)
C, D5, D, E5, F, G, A5, B5, C
Complete JI Major Scale (12 notes)
C, D5, D, E5, E, F7, F, G, A5, A, B5, C7, C
The Harmonic Series 1-64
I have used the FJS to list the pitches I have used in a Just Intonation piece. For example, here are the tuning sets for two pieces, Overture of Opulence and Meditations on a Medieval Theme Remix, from Justin Tonation.
Using the FJS in these contexts helps me immediately recognize the function of a note even if its ratio to the initial tonic is very complex (and I do use complex ratios). For instance, 243/200 may not tell me much, but seeing that it is a m325 helps me recognize it instantly; it’s just a 6/5 raised by another syntonic comma. To give another example from another one of my pieces, Symphony of the Elements: 729/640 is confusing, but M25 is less so; a 9/8 raised by a syntonic comma.