The attempt in JI Praxis Choir is to create a more rapid alternation between theory and practice, between action and reflection, as we learn just intonation. This may be simply misunderstood as “experiential learning”, but I think it is more dialectic. This is not the ages-old dichotomy between “thinking” and “doing”—yuck! One premise might be “If you can’t sing it, you don’t really know it.”
We draw a lattice on the board and on paper, then try to construct a human lattice.
In JI, these relatively large, tunable-by-ear intervals come to be related by small intervals, such as 81:80, the meantone comma—or is it Didymus’ comma? the 5-comma?—which are actually crucial to understanding the inner workings, if only to be able to notate them. One part of it is to create unforgettable, fitting names for small distinctions. The creators of Sagittal notation forged a connection with Greek mythology, and named the 5-comma symbol “Didymus’ dibbler”. But how to create a memorable earworm of an experience out of a just comma? Create a cyclical chord progression that drifts by one comma each time around.
This one is a simple round of 4:5:6 triads which teaches two different semitones, 16:15 and 25:24, and their difference, 128:125 (the lesser daisy):
These seem to be a poignant portal into intervals that are often abandoned to the abstract number world.