Temperament: Difference between revisions

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In Western music history, the first temperament to be described by theorists was the [[meantone]] temperament, in the beginning of the 16th century. It was developed in an attempt to solve some of the issues of the [[Pythagorean tuning]], the most commonly used tuning system until then. In particular, the pure fifths ([[3/2]]) are slightly compromised in order to obtain either pure major thirds ([[5/4]]), in [[quarter-comma meantone]], or slightly compromised major thirds in other meantone tunings. The linear structure of meantone has laid the foundations for the development of [[regular temperament theory]].

Later in the 16th century, other theorists proposed several [[equal temperament]]s, including [[12edo|12-tone equal temperament]] (12-TET), [[19edo|19-tone equal temperament]] (19-TET) and [[31edo|31-tone equal temperament]] (31-TET). Equal temperaments are now often called [[equal divisions of the octave]] in order to distinguish them from other [[equal tuning]]s with the same number of notes spanning an interval other than the [[octave]] ([[nonoctave]] tunings).

Later in the 16th century, other theorists proposed several [[equal temperament]]s, including [[12edo|12-tone equal temperament]] (12-TET), [[19edo|19-tone equal temperament]] (19-TET) and [[31edo|31-tone equal temperament]] (31-TET). Equal temperaments are now often called [[equal divisions of the octave]] (EDO or edo) in order to distinguish them from other [[equal tuning]]s with the same number of notes spanning an interval other than the [[octave]] ([[nonoctave]] tunings).

Because the previous systems have their own issues, a new kind of temperaments appeared in the 17th century: well temperaments. Their irregular structure allow for more flexibility in the way each note is tuned, and thus how each interval is compromised. As a result, most scales sound different when they are transposed to a different key.

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 In Western music history, the first temperament to be described by theorists was the [[meantone]] temperament, in the beginning of the 16th century. It was developed in an attempt to solve some of the issues of the [[Pythagorean tuning]], the most commonly used tuning system until then. In particular, the pure fifths ([[3/2]]) are slightly compromised in order to obtain either pure major thirds ([[5/4]]), in [[quarter-comma meantone]], or slightly compromised major thirds in other meantone tunings. The linear structure of meantone has laid the foundations for the development of [[regular temperament theory]].
-Later in the 16th century, other theorists proposed several [[equal temperament]]s, including [[12edo|12-tone equal temperament]] (12-TET), [[19edo|19-tone equal temperament]] (19-TET) and [[31edo|31-tone equal temperament]] (31-TET). Equal temperaments are now often called [[equal divisions of the octave]] in order to distinguish them from other [[equal tuning]]s with the same number of notes spanning an interval other than the [[octave]] ([[nonoctave]] tunings).
+Later in the 16th century, other theorists proposed several [[equal temperament]]s, including [[12edo|12-tone equal temperament]] (12-TET), [[19edo|19-tone equal temperament]] (19-TET) and [[31edo|31-tone equal temperament]] (31-TET). Equal temperaments are now often called [[equal divisions of the octave]] (EDO or edo) in order to distinguish them from other [[equal tuning]]s with the same number of notes spanning an interval other than the [[octave]] ([[nonoctave]] tunings).
 Because the previous systems have their own issues, a new kind of temperaments appeared in the 17th century: well temperaments. Their irregular structure allow for more flexibility in the way each note is tuned, and thus how each interval is compromised. As a result, most scales sound different when they are transposed to a different key.