Listen in the following to different pieces of music, controlled by Hermode Tuning. Some of them are
alternately performed with fixed equal temperament. HMT 3/5 means: Controlled to fifths and thirds in just
intonation, HMT 3/5/7 means: With additionally natural seventh.
One of my favorite pieces is the second movement of Beethoven’s Sonata 8, Pathétique, here presented with
all three movements in just intonation. The tuning of the 1st and 3rd movement is controlled by HMT
3/5/, the 2nd movement by HMT 3/5
The "Notturno" of the "Music to a Summernights Dream" by Felix Mendelssohn-Bartholdy. The sounds
originate from the Vienna Symphonic Library. The musical piece is edited by LOGIC and its Hermode Tuning
function. HMT 3/5/7
Some clips of this piece performed in equal temperament. Especially the high wind and the high string
instruments sound extremely detuned.
A composition by Richard Wagner, originally recorded in fixed temperament with
the organs of the Minster in Freiburg/ Germany. It plays Gerhard Gnann. The
audio part of this video is not original, its tuning is corrected to just intonation
with the help of the algorithms of Hermode Tuning.
The following clip presents the original recording with fixed tempered intonation.
The Canon in D by Johann Pachelbel, the tuning controlled by Hermode Tuning. HMT 3/5
A clip of this piece in equal temperament performs a rough and sharp sound.
The following musical example presents the complete first movement of Haydn's Symphony No. 103. It is
created with virtual instruments so that the movement of the ideal pitch positions can be followed by
the bar diagram.
HMT 3/5/7
A string quintet is playing. It performs the well-known Boccherini Minuit, what else? The sound material
is taken from the „Vienna Symphonic Library“, the tuning mode is HMT 3/5
The same piece for comparison in equal temperament, sounding flat.
Listen to Mozart’s Sonata for Piano Duo, K 497:
1st Movement HMT 3/5/7
2nd Movement
HMT 3/5/7
3rd Movement
HMT 3/5/7
Some clips of this Sonata
in equal temperament
A Chorale from Max Reger, recorded in the St.-Petri-Pauli-Kirche at Eisleben/ Germany
The tuning of the organ is controlled dynamically by its internal Hermode Tuning system.
HMT 3/5
The same piece in equal temperament.
One of Joseph Haydn’s jokes: The Andante of the Sympony No. 98 “Surprise”. The sound material is taken
from the „Vienna Symphonic Library“, the tuning mode is HMT 3/5/7
The same piece for comparison in equal temperament. One of many distinguishing characteristics: The
clear and warm sounding final chord of the version above has changed to a murmur.
Franz Schubert’s Impromptu No. 90-3 in just intonation.
HMT 3/5
Also by Franz Schubert the wonderful Sonata 18, D 894, in just intonation.
HMT 3/5/7
A Swabian folk song, arranged by Hermann Regner: Wenn i ans Brünnele geh', (When I go to the little fountain),
in dynamic just intonation
HMT 3/5/7
Mozart's Fantasia KV 397 in just intonation. HMT 3/5/7
"Claire de lune" by Claude Debussy in "claire" just intonation.
HMT 3/5/7
A contemporary composition: The "wedding march" of Andreas Ruesing in just intonation.
HMT 3/5
Piano music of Johannes Brahms with his „Hungarian Dance No. 2”, presented in just intonation.
HMT3/5/7
The same piece in equal temperament. It rattles, especially on the major chords.
Gaetano Rossinis Ouverture "L' italiana in Algeri" presented with virtual instruments, supported by
a double bass.
HMT 3/5/7
Listen to the „Air” of Johann Sebastian Bach’s Orchestra Suite No. 3 in D, BWV 1068,
edited with LOGIC and its Hermode Tuning function.
HMT 3/5
W. A. Mozart, Ave Verum Corpus for organ solo. Listen to the profound basses, caused by differential
tones sounding in precise octaves to the original tones. HMT 3/5
The same piece in equal temperament. The differential tones are still existing, but their
frequencies are different to the original tones. This causes a rough sound.
Beethoven’s Sonata No. 14 in C-Sharp Minor (moonshine) in just intonation.
HMT 3/5/7