Piano Temperament PDF

Temperaments Visualized
About Temperaments Pythagorean Meantone Modified Meantone Well Victorian Well Quasi-Equal Equal Modern Well EBVT Return to rollingball home
About Temperaments
Historical Overview This section contains a brief graphic overview of types of temperaments in the context of classical composers. The bottom half of the graphic has live hotspots, but the upper half (with the names of composers) is sadly lacking in interactivity. If you click on a miniature and get the full-size chart, you can press backspace to return to the current History image. Homage to Jorgensen Reading the Charts About "Key Color" Temperamental links - other websites sites of interest will appear in the frame to the right, and you can explore while remaining at rollingball.com...
Click on a type of temperament (meantone, modified meantone, well, victorian well, quasi-equal, or equal).
The temperament dates and detailed temperament information are drawn primarily from Jorgensen's tome, Tuning. The composer dates were quickly abstracted from Classical Net's Timeline of Composers. Consider two aspects of this: (1) What temperament would the composers have heard when they were children? (2) What temperament would they have had their keyboards tuned to?
http://www.rollingball.com/TemperamentsFrames.htm10/2/2006 4:13:04 PM
About Temperaments
About Temperaments
Historical Overview This section contains a brief graphic overview of types of temperaments in the context of classical composers. The bottom half of the graphic has live hotspots, but the upper half (with the names of composers) is sadly lacking in interactivity. If you click on a miniature and get the full-size chart, you can press backspace to return to the current History image. Homage to Jorgensen Reading the Charts About "Key Color" Temperamental links - other websites sites of interest will appear in the frame to the right, and you can explore while remaining at rollingball.com...
http://www.rollingball.com/A01.htm10/2/2006 4:13:05 PM
Pythagorean Temperaments
Pythagorean
Favors pure fifths. Thumbnails Boulliau (1373) Grammateus (1518) Neidhardt (1732) Neidhardt-Marpurg-De Morgan (1858) Moscow (1895)
Meantone Temperaments
Meantone
Favors pure thirds. The Wolf becomes a factor. Eight keys are playable. [Note, the red and blue "ET horizon" lines are not accurate in the meantone or modified meantone graphs. Yet.] Thumbnails Aaron (1523) Zarlino (1558) Huygens (1661) Holder (1694) Keller (1707) Silbermann (1714) Smith (1749) Romieu (1755) Holden (1770) Marsh (1809)
Modified Meantone Temperaments
Modified Meantone
Attempting to mitigate the Wolf and get nine playable keys. This is a transition to Well. Thumbnails D'Alembert (1752) Britannica (1797) Hawkes (1807) Fisher (1818) Secor #3 (1975)
Well Temperaments
Well
Key Color emerges as all 24 keys can be used. Thumbnails Werckmeister (1691) Prelleur (1731) Tans'ur (1746) D'Alembert (1752) Rousseau Equal-Beating (1768) Rousseau Theoretical (1768) Kirnberger (1771) Handel (1780) Vallotti (1781) Preston Equal-Beating (1785) Preston Theoretical (1785) Young (1799) Vallotti-Young (1799) Stanhope Equal-Beating (1806) Stanhope Theoretical (1806) Bemetztrieder (1808) Prinz Equal-Beating (1808) Prinz Theoretical (1808) Jousse (1832) Kellner (1978) Jorgensen's Prinz (2002)
Victorian Well Temperaments
Victorian Well
While maintaining key color, objectionable thirds are toned down. Thumbnails Tuner's Guide #1 (1840) Tuner's Guide #2 (1840) Tuner's Guide #3 (1840) De Morgan (1843) Broadwood's Best (1885) Broadwood's Usual (1885) Moore (1885)
Quasi-Equal Temperaments
Quasi-Equal
Conceptually driving for equal temperament, without the critical understanding of where to listen for beat rates. Thumbnails Merrick (1811) Graupner (1819) Hummel (1829) Viennese (1829) Jousse (1832) Becket (1840) Marsh (1840) Best Factory (1840) Ellis (1875) Ellis (1885) Broadwood (1885) Wicks (1887) Pyle (1906)
Equal Temperament
Equal
The first mathematically sound method of tuning truly equal temperament appeared in 1911. Equal Temperament
Modern Well Temperaments
Modern Well
With the advent of electronic tuning devices, there has been a resurgence of key color in a variety of well temperaments. Thumbnails Di Veroli (1978) Bailey (1993) Bailey (2002) Coleman 4 (1994) Coleman 10 (2001) Coleman 11 (1999) Coleman 16 (2001) Koval Penny (2002) Koval Variable 1.5 (2002) Koval Variable 1.9 (2002) Koval Variable 3.0 (2002) Koval Variable 5.0 (2002) Wendell's Well (2002) Wendell's ET Equivalent 2002 Wendell's Synchronous Victorian 2002 Wendell's Tweaked Synchronous Victorian #1 Wendell's Tweaked Synchronous Victorian #2 George Secor #2 (1975)
EBVT History
EBVT
"Equal-Beating Victorian Temperament". Homegrown by Bill Bremmer and eventually refined with Jorgensen's and Swafford's assistance after imbalances were pointed out by Ed Foote, Jason Kanter, Ron Koval, Kent Swafford, and Owen Jorgensen. A Graphic History of the EBVT "Do the results create: F3-C4 pure? C4-F4 pure? F3-Bb pure? Bb3-F4 pure? F#3-C#4 pure? G#3-C#4 pure? F3-A3, G3-B3, G3-E4 and C4-E4 all beating exactly the same, 6 beats per second? A3-C#4 and Bb3-D4 beating exactly the same, about 9 beats per second? G3-D4 and A3-D4 tempered exactly the same, about 2 beats per second? Ab3Eb4 and Bb3-Eb4 tempered exactly the same, very little, less than in ET? These are the features of my EBVT." (8/29/02)
1-Historical Tuning Systems
Click on a type of temperament (meantone, modified meantone, well, victorian well, quasi-equal, or equal).
The temperament dates and detailed temperament information are drawn primarily from Jorgensen's tome, Tuning. The composer dates were quickly abstracted from Classical Net's Timeline of Composers. Consider two aspects of this: (1) What temperament would the composers have heard when they were children? (2) What temperament would they have had their keyboards tuned to?
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Homage to Jorgensen
Most of the information in this website is cheerfully lifted from Owen Jorgensen's monumental tome, Tuning: Containing The Perfection of Eighteenth-Century Temperament; The Lost Art of Nineteenth-Century Temperament; and The Science of Equal Temperament. To save space, I have summarized Jorgensen's wording and decided in many places to eliminate quotation marks and just admit at the outset that it is all taken from his book. Each image contains a citation for the source of the information, generally a page in Jorgensen. I must say that as a professional organizer of information, I am staggered by the amount of research that Jorgensen managed to capture. It is regrettable that the book has gone out of print. My effort here should be thought of as a supplement to Jorgensen. There may be places where I have misinterpreted the data, and I take full responsibility for that. There are temperaments here that you will not find in Jorgensen: Coleman, Bailey, Koval, Wendell, Secor, Di Veroli, Bremmer, and Jorgensen's own improvement on Prinz/Kirnberger. In each case I have made comments drawn from personal emails or website postings. Again, if I have misrepresented anything, please let me know and I will promptly fix it. You may download a somewhat current PDF file (9/29/06) of these charts here. This is a large file, over 6 MB, so expect it to take a while. Suggestions to speed things up: if you are using Internet Explorer, once the page has loaded you can "add to Favorites" and on that dialog box you can click Make available offline. If you click the Customize button, you can save everything within a couple of clicks. This will store all the images on your computer. On the Mac, you can accomplish the same thus: Go to the menu item Favorites>Subscribe... and click the Customize button. Then click the Offline tab. Check the box for Download site for offline browsing and click the Options button. There, click Download links 3 levels deep and Skip links to other sites. Click OK twice to get out of here, and you're done. Later on, when I have updated the site, go to Favorites menu and choose Update Subscriptions.
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Reading the Charts

The charts display thirteen major triads in a cycle of fifths, starting with the C3E3G3 triad at the left and proceeding up by fifths and down by fourths until you reach C4E4G4 at the right. The bars indicate cents; the numbers represent beats. Fifths are blue; major thirds are red; minor thirds are green. [Technically, the minor third bars should be shown below zero, since minor thirds are contracted (not expanded like thirds and fourths). But I think they look better behind the major thirds.] Therefore, in the example C major triad shown at the left, the blue CG fifth is contracted by about 3 cents and beats at 0.7 beats per second (bps). The red CE major third is expanded by a little more than 5 cents, and beats at 2.0 bps. The green EG minor third is contracted by about 8 cents and beats at 4.9 bps. The fifth CG, minor third of EG, and major third of CE are thus seen together. The "feeling" of C Major is represented in the mingling beat rates of these three intervals. When those beats are synchronous (equal or in whole-number ratios such as 3:2) ... so that they are beating together ... there is something that happens in the soul of the listener. Immediately below each triad is the offset for the fundamental of that triad. (In the example triad shown on this page, C is offset by 6.20 cents sharp.) There is a red "horizon" line (ET reference line) representing 13.7 cents, the amount by which Equally Tempered major thirds are expanded. Likewise there is a blue ET horizon representing equally-tempered fifths, which are all contracted by 1.96 cents. The dotted curves are polynomial trendlines that help to show the degree of balance in the temperament. The large red numbers in the upper right of the chart indicate the minimum and maximum size of the Major Thirds (in cents). This can serve as a quick guide to the degree of key coloring in the temperament. These are busy charts, and there is some overlapping data. Below the graph is a data table that shows every number in the graph. Watch this space for an announcement of a printed reference guide containing all these charts (and more) in high-resolution, 11 x 8.5 format.
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Key Color
About "Key Color"

Each of the 12 major and 12 minor keys was thought to have its own emotional quality. This is primarily due to the varying sizes of the major thirds in the Well temperaments, which dominated European music during the 17th, 18th and 19th centuries. These descriptions are arranged according to the circle of fifths. You can see that the descriptions change from more peaceful around C major / A minor to more struggling/distressed around F# major / D# minor.
--text drawn from from Christian Schubart's Ideen zu einer Aesthetik der Tonkunst (1806).Translated by Rita Steblin in A History of Key Characteristics in the 18th and Early 19th Centuries. UMI Research Press (1983)
Major Third
C-E
Keys containing the major third

C Major: Completely pure. Its character is: innocence, simplicity, naivety, children's talk. G Major: Everything rustic, idyllic and lyrical, every calm and satisfied passion, every tender gratitude for true friendship and faithful love,--in a word every gentle and peaceful emotion of the heart is correctly expressed by this key. D Major: The key of triumph, of Hallelujahs, of war-cries, of victoryrejoicing. Thus, the inviting symphonies, the marches, holiday songs and heavenrejoicing choruses are set in this key. A Major: This key includes declarations of innocent love, satisfaction with one's state of affairs; hope of seeing one's beloved again when parting; youthful cheerfulness and trust in God. E Major: Noisy shouts of joy, laughing pleasure and not yet complete, full delight lies in E Major. B Major: Strongly colored, announcing wild passions, composed from the most glaring colors. Anger, rage, jealousy, fury, despair and every burden of the heart lies in its sphere. A minor: Pious womanliness and tenderness of character. E minor: Nave, womanly innocent declaration of love, lament without grumbling; sighs accompanied by few tears; this key speaks of the imminent hope of resolving in the pure happiness of C major. B Minor: This is as it were the key of patience, of calm awaiting one's fate and of submission to divine dispensation.
G-B
D-F#
A-C#
F# Minor: A gloomy key: it tugs at passion as a dog biting a dress. Resentment and discontent are its language. C# Minor: Penitential lamentation, intimate conversation with God, the friend and help-meet of life; sighs of disappointed friendship and love lie in its radius. Ab Minor: Grumbling, heart squeezed until it suffocates; wailing lament, difficult struggle; in a word, the color of this key is everything struggling with difficulty.
E-G#
B-D#
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Key Color
F#-A#
F# Major: Triumph over difficulty, free sigh of relief uttered when hurdles are surmounted; echo of a soul which has fiercely struggled and finally conquered lies in all uses of this key.
D# Minor: Feelings of the anxiety of the soul's deepest distress, of brooding despair, of blackest depression, of the most gloomy condition of the soul. Every fear, every hesitation of the shuddering heart, breathes out of horrible D# minor. If ghosts could speak, their speech would approximate this key. Bb minor: A quaint creature, often dressed in the garment of night. It is somewhat surly and very seldom takes on a pleasant countenance. Mocking God and the world; discontented with itself and with everything; preparation for suicide sounds in this key. F Minor: Deep depression, funereal lament, groans of misery and longing for the grave. C Minor: Declaration of love and at the same time the lament of unhappy love. All languishing, longing, sighing of the love-sick soul lies in this key. G Minor: Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike. D Minor: Melancholy womanliness, the spleen and humours brood. A minor: Pious womanliness and tenderness of character.
Db-F
Db Major: A leering key, degenerating into grief and rapture. It cannot laugh, but it can smile; it cannot howl, but it can at least grimace its crying. Consequently only unusual characters and feelings can be brought out in this key. Ab Major: Key of the grave. Death, grave, putrefaction, judgment, eternity lie in its radius. Eb Major: The key of love, of devotion, of intimate conversation with God.
Ab-C
Eb-G
Bb-D
Bb Major: Cheerful love, clear conscience, hope aspiration for a better world. F Major: Complaisance & Calm. C Major: Completely pure. Its character is: innocence, simplicity, naivety, children's talk.
F-A
C-E
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8-Equal Temperament
The math for tuning equal temperament (ET) wasn't worked out correctly until 1911. In a perfect ET, all semitones are exactly the same size. It contains no key-coloring and no tonality. Equal temperament is:
q q q
Unrestrictive, because modulation through all keys is free from wolf intervals. Regular, because all fifths are the same size. Circulating, because it obeys the cycle of fifths.
What have we lost?
6-Victorian Well
In 1885, the scientist Ellis analyzed the work of seven tuners. These charts represent three of them. Comparing these Victorian-era tunings to the earlier Well temperaments, we can see that the differences between the "smoothest" and "harshest" major thirds have been reduced. Broadwood's Best: This tuning was done by one of Broadwood's "best tuners". A shade less color contrast than the Broadwood Usual. Broadwood's Usual: This was done by Ellis's personal piano tuner, a "usual tuner" from Broadwood. A shade more color contrast than the Broadwood Best. Moore (sometimes called "Representative Victorian"): This tuning was done on a harmonium by a tuner from Moore & Moore. Note that there is some key-coloring but no M3 is expanded beyond 16 cents.
7-Quasi-Equal
These were tuning methods aiming at equal temperament, without benefit of the correct math for setting the temperament. Most of these tunings have each note within 1 cent of "correct" equal temperament, and hence most of them would pass the strict PTG Tuning Examination. On hearing the piano played, it is unlikely that even a discriminating ear would be able to distinguish any of these tunings from perfect ET. Graupner: The founder of the Boston Philharmonic, Graupner wanted the fifths "rather flat" and the thirds "rather sharp than otherwise". Hummel: An Austrian musician, known as "Europe's greatest pianist", a student of Mozart. "The only concern for piano tuners in 1829 was that all twelve fifths should be smooth sounding." (Jorgensen, p. 407) Viennese: Also by Hummel. This temperament became popularly known as the Viennese. Ellis: "New Equal-Beating" (1885). A scientist, Ellis concluded that no one was able to tune mathematically exact equal temperament, and developed this plan to help solve the problem. He had concluded that it was impossible to count beats faster than 5/second. Pyle: Pyle and William Braid White both used the same bearing plan, which is the standard still in use today. Pyle started using this variation in 1884. Braid-White's became the standard for Equal Temperament.
q q
q q
5-Well Temperament
These well temperaments share certain characteristics. They all minimize the size of the major thirds in the vicinity of C on the circle of fifths, and keep the most extreme M3s to exactly or just under the "maximum" of 21.51 cents. These widest thirds are called Pythagorean Thirds because they are formed by the Pythagorean rule of tuning a series of four perfect fifths. (For example, the sequence C-F-Bb-Eb-Ab is tuned with perfect fifths, resulting in a major third Ab-C that measures 21.51 cents wide of just. This principle can be observed exactly in Werckmeister, Kirnberger, and Prinz, and a fifth lower in Vallotti and Young.) Werckmeister showed that excellent well-temperaments were possible with about eight pure fifths. This version is 1/4 ditonic comma well, with tempered fifths on C, G, D and B. Kirnberger: German theorist, composer, student of Bach. C Major, G Major, E minor and B minor triads were all completely just, achieved by compromising the D and A fifths. Contains some of the purest harmony acoustically possible. Vallotti: The fifths on the white keys CDEFGA are each one-sixth ditonic comma narrow. The remaining six fifths are pure. A "very conservative" temperament. Young: Jorgensen lavishes this praise on the Young temperament: "Notice the complete symmetry the even changes in the sizes of thirdsthe most perfect idealized form of well temperament ever publisheda summation of the best ideals of well temperament...the greatest perfection possible." Prinz: The major third CE is just. This assured that the Prinz contains as much color-contrast as the original Kirnberger.
q q
q q
3-Meantone
The Meantone family of temperaments strives for extremely clean major thirds in 8 keys, pushing all imperfection into the four remaining major thirds. Theoretically correct meantone temperaments have eleven fifths exactly the same size. Another characteristic is the augmented fifth (actually a diminished sixth) at Ab, the "wolf" fifth. In any meantone temperament, one-third of the potential harmony was intolerable. Aaron: 1/4 syntonic comma. Zarlino: 2/7 syntonic comma. Huygens: Based on 31 equal divisions of the octave. Keller: Almost 1/5 Ditonic. A German harpsichordist who lived in England. He wrote: "Sharp thirds must be as sharp as the ear will permit, and all fifths as flat as the ear will permit." Keller had equal-beating major triads. Romieu: 1/7 comma. Marsh: 4/25 syntonic. Although Well temperament was quite prominent, Marsh's philosophy was that is better to have only two-thirds of the keyboard harmony tolerably in tune he disapproved of tempering for the sake of the characters of the keys.
q q q q
q q
4-Modified Meantone
The purpose of modified meantone was to increase the number of good M3s to nine or more. The price paid for this was harmonic waste in the major triads C#, Eb, Bb, F. D'Alembert: French mathematician. Britannica: By 1797, tuners had learned to modify the meantone temperament so that nine keys could be used. The Britannica described this temperament as "better adapted than any other to keyed instruments." Hawkes: "Improved Modified Meantone" (1807) Fisher: A Yale mathematics professor, Fisher studied musical compositions for interval usage, and constructed this temperament so that the C, G, D and A major thirds would be perfect.
q q
q q
Pythagorean Thumbnails
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Meantone Thumbnails
.. Zarlino ... Smith ... Aaron ... Huygens
.. Holder ... Keller ... Holden ... Silbermann
.. Marsh ... Romieu
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Modified Meantone Thumbnails
.. d'Alembert ... Britannica ... Hawkes ... Fisher ... Secor
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Well Thumbnails
Hover over the thumbnail for a second to see the name of the temperament. Click on the thumbnail to see the detailed chart.
The last two (Preston) are actually modified meantones, not Well temperaments, as you can see from the characteristic rectangular profile and the augmented fifth.
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Victorian Well Thumbnails
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Quasi-Equal Thumbnails
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A Long Road to a Balanced Temperament...

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Piano Temperament PDF

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Piano Temperament PDF

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Temperaments Visualized

Modified Meantone Temperaments

Victorian Well Temperaments

Modern Well Temperaments

1-Historical Tuning Systems

Reading the Charts

About "Key Color"

Keys containing the major third

http://www.rollingball.com/A01c.htm (1 of 2)10/2/2006 4:13:20 PM

http://www.rollingball.com/A01c.htm (2 of 2)10/2/2006 4:13:20 PM

What have we lost?

.. Zarlino ... Smith ... Aaron ... Huygens

.. Holder ... Keller ... Holden ... Silbermann

.. Marsh ... Romieu

Modified Meantone Thumbnails

.. d'Alembert ... Britannica ... Hawkes ... Fisher ... Secor

Victorian Well Thumbnails

Modern Well Thumbnails

A Long Road to a Balanced Temperament...

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