Well temperament: Difference between revisions
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| de = | |||
| en = Well temperament | |||
| es = Temperamento circular | |||
| ja = ウェル・テンペラメント | |||
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{{Wikipedia|Well temperament}} | {{Wikipedia|Well temperament}} | ||
A '''well temperament''' (or '''circulating temperament''') is a [[tuning system]] which is regarded as an approximation of an [[equal tuning]], has the same [[equave]] as that equal tuning and preserves the transposability of the equal tuning, but is not exactly the equal tuning being approximated. Historical well temperaments were formed by stacking a combination of pure [[3/2]] and flattened fifths and had 12 nearly equal steps. | A '''well temperament''' (or '''circulating temperament''') is a [[tuning system]] which is regarded as an approximation of an [[equal tuning]], has the same [[equave]] as that equal tuning and preserves the transposability of the equal tuning (every key is still 'good enough'), but it is not exactly the equal tuning being approximated. Historical well temperaments were formed by stacking a combination of pure [[3/2]] and flattened fifths (occasionally also sharpened fifths) and had 12 nearly equal steps. | ||
One of the advantages of these tunings is that because they are not quite equal, each chord (or key) has a slightly different character because the interval sizes have changed slightly. | One of the advantages of these tunings is that because they are not quite equal, each chord (or key) has a slightly different character because the interval sizes have changed slightly. | ||
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# seven [[3/2|pure]] fifths | # seven [[3/2|pure]] fifths | ||
* [[Werck3]] – Werckmeister temperament III | * [[Werck3|Werckmeister III]] – Werckmeister temperament III | ||
# four tempered fifths (C–G, D–A, G–D and B–F#) are tuned flat by 1/4 comma (''Werckmeister did not specify whether the syntonic or [[pythagorean comma|Pythagorean]] comma should be used, so either is acceptable'') | # four tempered fifths (C–G, D–A, G–D and B–F#) are tuned flat by 1/4 comma (''Werckmeister did not specify whether the syntonic or [[pythagorean comma|Pythagorean]] comma should be used, so either is acceptable'') | ||
# eight [[3/2|pure]] fifths | # eight [[3/2|pure]] fifths | ||
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# six tempered fifths (C–G, D–A, E–B, F–C, G–D and A–E) are flat by 1/6 Pythagorean comma | # six tempered fifths (C–G, D–A, E–B, F–C, G–D and A–E) are flat by 1/6 Pythagorean comma | ||
# six pure fifths | # six pure fifths | ||
* [[Galilei's tuning]] | |||
# eleven [[18/17]] (~99{{cent}}) semitones | |||
# one (2/1)/(18/17)<sup>11</sup> (~111.5{{cent}}) semitone (B-C) | |||
== Classification by approaches == | == Classification by approaches == | ||