Exploring Temperaments, Part 1.

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Chapters:
0:00 Introduction
2:33 Why we need temperaments
8:35 Quarter-comma meantone vs equal temperament
13:11 Other types of temperaments
15:40 Enharmonic notes (or a lack thereof)
18:17 Implications for performance
19:11 Enharmonics and keyboard instruments
21:45 Conclusion
22:41 Patreon information

Links:

Spinet: Neupert "Zenti" (Bamberg, 2008). A=415 Hz

[DrDaveInN-Az]

An excellent discussion of temperament. Many digital keyboards now give musicians a selection of temperaments. My digital pipe organ has this selections. Pipe organs, with their greater overtones in the pipes and their color in timbre, utilize meantone and other temperaments with greater effect, especially with Baroque and earlier organ music.

[dbadagna]

Pure (5:4) major third: 386.31 cents (13.69 cents narrower than a 400-cent 12-equal-tempered major third)
Pure (6:5) minor third: 315.64 cents (15.64 cents wider than a 300-cent 12-equal-tempered minor third)

[tardigrades]

That video is actually how I started watching your channel.

[dbadagna]

386.31 cents (pure 5:4 major third) x 3 = 1158.93 cents, 41.07 cents shy of a 1200-cent pure 2:1 octave.

In 12-tone equal temperament:
400 cents (major third, 13.69 cents wider than a pure 5:4 major third) x 3 = 1200 cents (a pure 2:1 octave)

[electric]

It's worth noting that the notion of "[flatter-than-700-cent] meantone temperaments are only playable in a select few keys" is only a problem with a piano keyboard layout. If you have a layout that enables all accidentals, such as an isomorphic keyboard, the transposition and modulatory possibilities increase to just as much, if not more, than 12-equal.

[gregorspv]

This is invaluable. Thank you so much for taking the time to record this!

[rebanelson]

This is extremely interesting! I became interested in Baroque music many years ago and wondered how the various keys would sound in different tunings. How cool to come across your channel! I'm looking forward to more. Thanks so much for pursuing this subject.

[DenisFalqueto]

This video is so good, so clear and well explained! Thank you so much!

[rosemmason]

Well done! Your explanations are so clear. I had an "aha!" moment when you explained the reasons for the first 3 sharps and the first 2 flats.

[nattawutprohdeengam]

Thank you for your good and easy explanation on this video

[Judymontel]

I love this! Especially about the choices of how the accidentals were traditionally tuned - it explains why all those Corelli trio sonatas are in just those 6 keys, with none that I can find in C minor or E major. Brilliant! Of course, for those of us who play bowed instruments that temper more easily, B major is problematic for other reasons... Many thanks!

[aphexaphex]

Captivating and crystal clear as always. Looking forward to part II.
Thank you

[agamemnonatreides]

This is great! I look forward to parts 2 and 3.

[uhoh]

Please explore partimenti and the rule of the octave for us. Thank you.

[melefth]

Beautiful introduction and presentation. Thank you. I have an unrelated question: can you recommend a piano tuner here in Athens who can tune my old Petrov to classical (Young) tuning? Ευχαριστώ πολύ!