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Oh! It does not sound as complex as I would expect it to be! So basically you composed tonally but then make use of the microtones for adjusting for those tuning differences that the 12TET does not account for, right? But the, I am wondering, is it done only on the third of the prevailing harmony? In other words, if you have a bar where the harmony is Cmajor, for that whole bar you would flatten only the note E every time it appears? Or you flatten the notes respectively to the counterpoint? For example, if you have a melody in thirds you flatten the third with respect to the bottom voice? The first movement of the string quartet sounds amazing! Microtones seem to feel much more natural for strings than on the harpsichord. But I imagine it takes a little bit of time to get used to the new sound since we are so accustomed to 12TET. It is a really interesting concept and so convenient that we can change the tune so easily with the notation softwares!

I'll come back to this, later on tonight, when I make it back from fixin' this old pathfinder for a client of mine! I'm still, unfortunately, a full time mechanic. Gotta make that bread

It is not that complex really. Have you heard of just tuning? The concept is to bring the tuning system into better alignment with the harmonic series. In the harmonic series the major 3rds and minor 3rds are much more pure and sound more satisfying than in 12-tet (12 tone equal temperament). But 12-tet preserves perfect 8ves, 5ths and 4ths which is really important to keep the whole tuning system consistent with itself across all octaves. But that comes at the price of compromised major and minor 3rds. If you google "justly tuned 3rd" it will tell you that major 3rds in 12-tet are 15 cents sharper than their justly tuned (much nicer sounding) counterparts and minor 3rds are 15 cents flatter. So I just basically wrote a 12-tet piece and whenever I arrived at a major or minor triad my objective was to sharpen the minor 3rd of a minor triad by 15 cents and flatten the major 3rd of any major triad by 15 cents. I sought to do this by using 1/6ths of a tone which amount to 16.666 cents (which I considered a good approximation) but it turned out that Musescore Studio doesn't have 1/6th tones yet. So I did the next best thing which was using syntonic commas (around 20 cents). That's all I really sought to do in the Microtonal Invention to give it a more authentic feel of a justly tuned Baroque Harpsichord. (Although there's also 1/4ths of a tone which I used in my Microtonal String Quartet).

Good stuff man, the sound quality of your music is superb. I peered through the score, and the only thing I could find to give feedback on is your piano writing. I didn't always seem very idiomatic to the instrument. For instance, you tend to favor ultra wide chords sometimes that won't sound like how they're written. For example, the pianist would have to roll the LH chords in bars 1 and 4. Is that what you're going for? I'd rewrite the voicings, or if you like them the way they are, roll the chords. You denote arpeggios in other places, so I'd do it there also. I'd use slurs too. Yeah, I know you show pedal markings, but it's still a good idea to write in the slurs for how you want it played. I'm excited for you with the possibility of a performance (that's happening, right?). Keep us updated, and hopefully I stop by this site and see an update from you with a live recording. Regardless of that, kudos on your effort of continuing to better this piece with peer review. That's what this place is for 🙂 Looking forward to future music from you, and thanks for re-re-sharing your music

Here it's the Lamentoso! Henry