Tuning and Temperaments in the Renaissance - PART I

Created by Elam Rotem, Oren Kirschenbaum and Johannes Keller

Many thanks to Martin Kirnbauer and the Museum für Musik, Basel

[rorybricca]

Thank you for making these videos. It is truly inspiring to see someone as knowledgeable as you taking the time to share all this detailed information about Early Music with the world in such an enjoyable and engaging way.

[fraukejurgensen]

The clearest explanation of the syntonic comma that I've seen. Nice job!

[surgeeo]

This channel has the best use of emojis on the internet. You make them art!

[AnHebrewChild]

We love your videos! They are _the_ gold standard, imo, for online musical education.

A thought: in videos about temperaments, it might be helpful if you'd be sure to briefly explain how these tuning compromises are not an issue for continuously-variable instruments such as violin, cello, trombone, and human voice. To many novices (I am one myself), this fact isn't always understood. Likewise, the thoughtful accommodation such instrumentalists make when playing in concert with fretted instruments (organ, lute, piano, etc) is also not at all understood.

It seems like the above should be at least mentioned in these sorts of videos-- but I almost never see it!

In any case, THANK YOU again for the superb-quality instruction you consistently bring.

[bifeldman]

I had already discovered Kellner. Gorgeous player. This channel is my new addiction.

[TheGambaGeek]

Great video! You make it so easy to understand!

[kennethharte]

I wish I could like your videos more than once. Thanks to you and your team.

[DavidMaurand]

one of the best presentations of this concept i have seen ever.

[ivoryconsort]

Bravo! Thank you for spreading this vital knowledge in such an excellently concise and clear manner.

[Jack-jezt]

This is awesome, but would have liked it if you actually played the sound of the intervals in the different tunings.

[victorgallardo]

JUST
Thank you, beautiful work! Now I get it!

[mariamkhelashvili]

Thank you so much for helping out with my homework

[millennial]

Thanks to sharing that great subjectmatter. All the videos get a great quality. Cheers!

[robertosion]

Marvelous explanations and figures! Thank you very much. Greetings from Brazil, prof. Roberto Sion.

[gidimeir]

Fantastic work Eilam! Keep the videos coming.Thank you!

[sagamusic]

Great explanation! Heading to the part II right now.

[CyberChapel]

A deeply fascinating video. Thank you.

[ganaelschneider]

You guys are awesome! Thank you so much for doing these videos, they are perfect! :)

[Alberad]

Thanks a lot for uploading these two videos! BTW when recording the 'Aria Prima' by contemporary composer Josef Mons as one of two recorder players, I was amazed how much freedom the less overtones of the, of course equally tempered piano in the basso continuo (compared e.g. to a harpsichord in similar temperament), left for the flutes to play more pleasing harmonies than what would have been the case if these two would have been forced to play in equal temperament too. You can find that recording also here on YouTube.

[electric]

1:38 You can also add a fourth one, enharmonically equivalent accidentals. C♯ = D♭, D♯ = E♭, F♯ = G♭, G♯ = A♭, and A♯ = B♭ only holds in 12-tone equal temperament and its multiples.