{"id":8916,"date":"2020-06-28T13:48:14","date_gmt":"2020-06-28T11:48:14","guid":{"rendered":"https:\/\/mathis-nitschke.com\/?p=8916"},"modified":"2020-07-03T10:10:22","modified_gmt":"2020-07-03T08:10:22","slug":"4-quiet-pieces-for-accordion-in-just-intonation","status":"publish","type":"post","link":"https:\/\/mathis-nitschke.com\/en\/4-quiet-pieces-for-accordion-in-just-intonation\/","title":{"rendered":"4 Quiet Pieces for Accordion in Just Intonation"},"content":{"rendered":"

4 Quiet Pieces for Accordion in Just Intonation<\/h4>\n

Composition and Accordion: Mathis Nitschke<\/em><\/p>\n

 <\/p>\n

Just Intonation<\/h4>\n

I improvised and recorded these pieces on a Hess accordion from 1941, which I had tuned to a just intonation by the restorer Philip B\u00f6ttcher<\/a>. “Just intonation” means that the tones of the scale, as in the overtone series, are based on a natural, integer relationship to the fundamental. A fifth G is in a ratio of 2\/3 to the fundamental C I have chosen here, the fourth F in a ratio of 3\/4, the third E in a ratio of 4\/5, and so on, always following the overtone series.<\/p>\n

 <\/p>\n

Why Just Intonation?<\/h4>\n

The just intonation differs clearly from the usual equal temperament in its sound but also in its practicability. On this accordion a third C-E sounds clear and free from beating, while the third B-D, for example, sounds totally sloped and crooked. This offers not only the possibility of playing particularly pure sounds, but also, in a particularly charming way, to play wonderfully iridescently “wrong”. This “wrong sounding” is not the result of a randomly detuned accordion, but is determined in an audibly conscious and concrete way.<\/p>\n

\"\"<\/a><\/p>\n

This little waltz aims to sound “wrong” in a particularly beautiful way, and therefore is played in B flat minor, on the accordion tuned in C:<\/p>\nhttps:\/\/mathis-nitschke.com\/wp18\/wp-content\/uploads\/2020\/06\/Requiem_Mathis_09_Walzer.mp3<\/a><\/audio>\n

 <\/p>\n

Dedication<\/h4>\n

The starting point for this approach are the “Four Pieces for Barrel Organ<\/a>” by my composition professor Gilius van Bergijk<\/a>, which for me are among the saddest music in the world. His idea here was to abuse a diatonic, purely tuned barrel organ from the Amsterdam Orgelpark<\/a> by using it in a “wrong” key in such a way that it sounds particularly sad. An idea that I have been carrying around with me for 20 years, and now I am finally transforming it into my own artistic approach. Thanks, Gilius.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

The just intonation differs clearly from the usual equal temperament in its sound but also in its practicability. On this accordion a third C-E sounds clear and free from beating, while the third B-D, for example, sounds totally sloped and crooked. This offers not only the possibility of playing particularly pure sounds, but also, in a particularly charming way, to play wonderfully iridescently “wrong”. This “wrong sounding” is not the result of a randomly detuned accordion, but is determined in an audibly conscious and concrete way.<\/p>\n","protected":false},"author":1,"featured_media":8940,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[126,110],"tags":[],"class_list":["post-8916","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-music","clearfix",""],"yoast_head":"\n4 Quiet Pieces for Accordion in Just Intonation - Mathis Nitschke<\/title>\n<meta name=\"description\" content=\"The just intonation differs clearly from the usual equal temperament in its sound but also in its practicability. On this accordion a third C-E sounds clear and free from beating, while the third B-D, for example, sounds totally sloped and crooked. This offers not only the possibility of playing particularly pure sounds, but also, in a particularly charming way, to play wonderfully iridescently "wrong". This "wrong sounding" is not the result of a randomly detuned accordion, but is determined in an audibly conscious and concrete way.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mathis-nitschke.com\/en\/4-quiet-pieces-for-accordion-in-just-intonation\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"4 Quiet Pieces for Accordion in Just Intonation - Mathis Nitschke\" \/>\n<meta property=\"og:description\" content=\"The just intonation differs clearly from the usual equal temperament in its sound but also in its practicability. On this accordion a third C-E sounds clear and free from beating, while the third B-D, for example, sounds totally sloped and crooked. This offers not only the possibility of playing particularly pure sounds, but also, in a particularly charming way, to play wonderfully iridescently "wrong". 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