Work sample by the Intonalist, William Copper.
I attempt to describe better what it is that I do:
Each and every note for orchestra and chorus is assigned a specific intonation, such that through a major work like my Moses at the Jordan River, approximately 50-60 distinct pitches are used. As a rapid summary example, for the note C# on a piano, the score might use a high Db, a low Db, a high C# quite distinct from the Db, a low C#, and a two-comma flat double low C#. For the most part, however, these pitches are tuned in pure relation to fairly traditional harmonic structure and come naturally to the naive singer and to a good musician. The special rules of Intonalism guide the composition of every melodic line such that every interval may be tuned perfectly. This is not to imply that a normal variation in pitch and even outright mistakes during performance will spoil the work in any way, more than they would spoil any other composition.
Yet another Ave Verum Corpus:
Free pdf edition of Parts I-II of Josquin’s five part “Ave verum corpus” now available from my Hartenshield Music website. In my opinion, this setting is better than the very good Mozart and Byrd settings, and completely within the capabilities of a good amateur choir.
(Another version, with old notation, is available from cpdl.org, by C. H. Giffen, and I consulted his edition a great deal.)
I tried to explain as clearly as possible the intonation markings used, in an appendix, and footnoted places where the intonation implied musica ficta.
Pdf score of the three parts at http://www.hartenshield.com/Josquin_Ave_verum_corpus_a5.pdf
Part 1: https://soundcloud.com/williamcopper/josquin-ave-verum-a5-part1
Part 2: https://soundcloud.com/williamcopper/josquin-ave-verum-a5-part2
Part 3: https://soundcloud.com/williamcopper/josquin-ave-verum-a5-part3
Anyone that tries this with their choir, I’d love to hear about it!