Of course. Here is a detailed explanation of the history and theory of musical temperaments, a fascinating topic that lies at the intersection of music, mathematics, and physics.
Introduction: What is Temperament and Why is it Necessary?
At its core, musical temperament is the practice of adjusting the intervals of a musical scale—the distances between notes—so they are slightly out of tune from their "pure" or "natural" acoustic ratios.
This sounds counterintuitive. Why would we intentionally make music out of tune?
The answer lies in a fundamental mathematical problem in music. Nature gives us beautifully consonant intervals based on simple whole-number frequency ratios:
- Octave: A perfect 2:1 ratio. (A note at 440 Hz and one at 880 Hz).
- Perfect Fifth: A very pure 3:2 ratio. (C to G).
- Perfect Fourth: A clean 4:3 ratio. (C to F).
- Major Third: A sweet-sounding 5:4 ratio. (C to E).
The problem is that you cannot build a system of 12 notes where all of these pure intervals can coexist. If you start on a note (say, C) and build a scale using only pure intervals, you quickly run into contradictions. This creates a "tuning crisis" that temperament aims to solve.
The entire history of temperament is a story of compromise: choosing which intervals to prioritize for purity and which to sacrifice for the sake of musical flexibility.
The Foundational Problem: The Pythagorean Comma
The oldest and most fundamental tuning problem is the Pythagorean Comma. It demonstrates the impossibility of reconciling pure fifths and pure octaves.
Let's build a scale using the purest interval after the octave: the perfect fifth (3:2 ratio). This is the basis of Pythagorean Tuning.
The Circle of Fifths: Start at C. If you go up by 12 perfect fifths, you should, in theory, land back on a C. (C → G → D → A → E → B → F♯ → C♯ → G♯ → D♯ → A♯ → E♯ → B♯)
The Stack of Octaves: A much simpler way to get from a C to a higher C is to just go up by 7 octaves. (2:1 ratio).
The Mathematical Conflict:
- Going up 12 perfect fifths is mathematically represented as (3/2)¹² ≈ 129.746.
- Going up 7 octaves is mathematically represented as (2/1)⁷ = 128.
As you can see, 129.746 ≠ 128.
The B♯ you arrive at by stacking fifths is slightly sharper than the C you get by stacking octaves. This small, dissonant gap is the Pythagorean Comma. It means that a scale built on pure fifths will never perfectly "close the circle." One interval will be horribly out of tune. In Pythagorean tuning, this was called the "wolf fifth" because it sounded like a howl.
This single problem is the catalyst for every temperament system ever invented.
A Historical Journey Through Temperament Systems
1. Pythagorean Tuning (Antiquity – c. 1500)
- Theory: Based entirely on the pure 3:2 perfect fifth. All notes in the scale are derived by stacking these fifths. The octave is the only other pure interval.
- Sound & Musical Use:
- Strengths: Perfect fifths and fourths sound majestic and pure. This was ideal for medieval monophonic music (like Gregorian chant) and early polyphony, where these intervals were the primary consonances.
- Weaknesses: The major thirds (with a complex ratio of 81:64) are very wide and dissonant. As music evolved to include more thirds and full triads (three-note chords), Pythagorean tuning began to sound harsh. And, of course, the "wolf fifth" made one key unusable.
2. Just Intonation (Renaissance, c. 15th-16th Centuries)
- Theory: A reaction to the harsh thirds of Pythagorean tuning. Just Intonation prioritizes the purity of the triad (the basic building block of Western harmony). It uses not only pure fifths (3:2) but also pure major thirds (5:4).
- Sound & Musical Use:
- Strengths: In its home key, chords sound spectacularly resonant, pure, and "in tune." A C major chord (C-E-G) is built from a pure major third (C-E) and a pure perfect fifth (C-G). This is ideal for a cappella vocal ensembles (like choirs), as singers can naturally adjust their pitch to create these pure chords.
- Weaknesses: It is a complete disaster for modulation (changing keys). If you build a keyboard tuned to a perfect C major scale in Just Intonation, the moment you try to play a D major chord, some of its intervals will be wildly out of tune. This is because the "D" required for the C major scale is not the same "D" required to start a pure D major scale. This system creates even more "commas" and is impractical for fixed-pitch instruments like keyboards.
3. Meantone Temperaments (c. 1500 – c. 1800, Baroque Era)
This was the great compromise of the Renaissance and Baroque periods.
- Theory: Meantone recognizes that you can't have both pure fifths and pure thirds. It chooses to sacrifice the fifths to get better thirds. The fifths are systematically "tempered" (narrowed) so that the major thirds sound closer to pure.
- The most common type was Quarter-Comma Meantone: To make the major third pure (5:4), the four fifths that comprise it (e.g., C-G-D-A-E) are each flattened by a quarter of a syntonic comma (the gap between a Pythagorean third and a Just third).
- Sound & Musical Use:
- Strengths: The thirds in "good" keys (those with few sharps or flats, like C, G, D, F, Bb) sound beautifully sweet and restful. This is the sound world of much of Byrd, Frescobaldi, and early Baroque composers.
- Weaknesses: Like Pythagorean tuning, the circle of fifths does not close. There is still a "wolf" interval, making keys with many sharps or flats (like F♯ major or C♯ major) completely unusable. This is why different keys had distinct "colors" or "affects" in the Baroque era—they were literally tuned differently!
4. Well Temperaments (Late Baroque, c. 1680 – c. 1800)
As composers desired more freedom to modulate, meantone's limitations became frustrating. Well temperaments were the ingenious solution.
- Theory: A family of diverse and subtly different tuning systems (e.g., Werckmeister, Kirnberger) designed to close the circle of fifths, eliminating the "wolf" interval. They do this by distributing the "out-of-tuneness" (the Pythagorean comma) unevenly around the circle. Some fifths are made pure, some are slightly tempered, and others are tempered more heavily.
- Sound & Musical Use:
- The Key Feature: All 24 major and minor keys are usable, but they are not identical. Each key retains a unique character or "color." C major might sound pure and serene, while C minor sounds more tragic, and F♯ major might sound bright and edgy.
- J.S. Bach's The Well-Tempered Clavier is the most famous work demonstrating this principle. It is a collection of preludes and fugues in all 24 keys, proving they could all be played on a single instrument tuned to a "well" temperament. The title does not mean "equally" tempered.
5. Equal Temperament (19th Century – Present Day)
This is the system we live with today, the default for pianos and nearly all modern Western instruments.
- Theory: The ultimate mathematical compromise. The Pythagorean comma is distributed perfectly equally among all 12 fifths. The octave is divided into 12 precisely equal semitones. The frequency ratio for each semitone is the 12th root of 2 (¹²√2 ≈ 1.05946).
- Sound & Musical Use:
- Strengths: Its primary virtue is absolute freedom. A composer can modulate to any key, at any time, and it will sound exactly the same in terms of its internal tuning. This was essential for the complex harmonic language of Romantic (Wagner), Impressionist (Debussy), and Atonal (Schoenberg) music.
- Weaknesses: It is a "democracy of imperfection." The only truly pure interval is the octave. Every other interval is slightly out of tune.
- Perfect fifths are slightly narrow.
- Major thirds are noticeably wide and shimmery compared to a pure 5:4 third.
- The unique "key color" of well temperaments is completely lost. C major and F♯ major have an identical intervallic structure, just transposed.
Summary Table
| Temperament | Core Principle | Pros | Cons | Musical Era |
|---|---|---|---|---|
| Pythagorean | Based on pure 3:2 fifths. | Pure, strong fifths & fourths. | Harsh thirds; one unusable "wolf" key. | Medieval, Early Renaissance |
| Just Intonation | Based on pure 3:2 fifths AND 5:4 thirds. | Perfectly resonant chords in one key. | Modulation is impossible on fixed instruments. | Renaissance (vocal music) |
| Meantone | Narrows the fifths to create pure thirds. | Sweet, beautiful thirds in common keys. | "Wolf" interval makes remote keys unusable. | Late Renaissance, Baroque |
| Well Temperament | Closes the circle with unequal tempering. | All keys are usable; each key has a unique "color." | Intervals vary in purity from key to key. | Late Baroque, Classical |
| Equal Temperament | Divides octave into 12 equal semitones. | Total freedom to modulate; all keys sound the same. | No pure intervals except the octave; "key color" is lost. | Romantic, Modern |
Conclusion
The evolution of musical temperament is a journey away from acoustical perfection towards pragmatic flexibility. Each step was driven by the changing needs of composers. Today, while Equal Temperament is the global standard, the historical performance movement has revived the older temperaments. Listening to Baroque music played on an instrument in meantone or a well temperament is a revelatory experience, allowing us to hear the music with the same sonic palette and "key colors" that Bach or Handel would have known. It reminds us that tuning is not just a technical issue but a profoundly artistic choice.