Hi list. Paul Erlich wrote me this and asked me to pass it on to all interested. It is in reply to Richard Moodys last post. Grin... Caught in the middle again.. Richard Brekne I.C.P.T.G. N.P.T.F. Bergen, Norway Please post the following reply: >2/7 comma (Zarlano) doesn't tell you >much of anything. It gives a Third of LESS than pure, but what is the objective?? The objective is to optimize the tuning of both the major third and the minor third. In Zarlino's tuning both are only 1/7 comma (about 3 cents) off just. >Today computation of >this and beat rates is rather straight forward with a calculator, but from the 14th >century to the 19th the theory of tuning and the practice of tuning probably had >little in common. I would say they had much in common, even if the correspondence was not nearly as exact as today. Jorgenson gives some plausible schemes for tuning the historical temperaments according to principles that were known at the time. Many, using "equal-beating" schemes, yield results different from the theoretical ideal, but are close enough that one can meaningfully distinguish between different tuning systems used in different periods of time, in both theory and practice: 900-1450 Pythagorean 1450-1500 Schismatic 1500-1700 Meantone, around 1/4-comma 1700-1800 1/6-comma meantone yielding to circulating well-temperaments 1800-present mildly unequal well-temperaments yielding to equal temperament These are not sharp dividing lines -- organs in England were tuned to 1/4-comma meantone until 1850, and one still finds Pythagorean tuning in many cultures on the periphery of the West. >If the octave has 1200 cents, then the 12 note octave should have 100 cents per >note. The 19 note octave (equally divided) then should have 1200/19, or 63.16 cents >per note. The 22 equal note octave would be 54.5454 cents. But sometimes the "12 >note octave" is called a thirteen note octave with 12 intervals. Do we know how >the 19 or 22 note octave is set up? 1200/19 and 1200/22 are correct.
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