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Music, as an art, is in the ear of the listener. As a musician, I can say there are definitely times when a song sounds "better" in one key than another. The primary reason this is so is when the key fits the "natural" range of a singer or instrument. A song may sound perfect when sung by a female alto, but as those notes sung verbatim would be at the top ...

In modern Western music, we use equal temperament where all keys are basically equivalent. Notes are based on 2 n/12. Using A440 as a base, you get the following: A = 440 Hz * 2 0/12 = 440 Hz B♭ = 440 Hz * 2 1/12 = ~466 Hz B = 440 Hz * 2 2/12 = ~494 Hz etc. Historically this was not the case, however. Just intonation ruled the world, where notes ...

Here are links to YouTube videos, all three of which were posted by the same person, using the same synthesizer, all three playing Bach's Air on the G String. But each link uses a different tuning system: Equal Temperament: http://www.youtube.com/watch?v=c6XkgNT20Eg Just Intonation: http://www.youtube.com/watch?v=gdL8aPQUOk0 Pythagorean Tuning: ...

There is exactly one note that is a diminished 3rd above Db: Fb. Db to Eb is not a diminished third, it is a major second. Those comments are wrong. This question explains the difference between two enharmonically equivalent notes.

It is often a matter of tradition inside the orchestra that becomes out of control for conductors. When they create their own orchestra they have the pleasure to decide this for themselves. The conservatism from musicians has several reasons: Some Orchestra have a concert hall with a large organ which is tuned for this frequency Wind players usually ...

Logic Pro has built-in controls for using different temperaments. Check out the link below: http://documentation.apple.com/en/logicpro/usermanual/index.html#chapter=43%26section=6%26tasks=true It allows you to either select a pre-configured tuning system, or customize your own. MAX/MSP is another solution, but if you don't have programming experience, ...

It's almost always a non-issue. Keep in mind that keyboards and pitched percussion are really the extent of the fixed-frequency instruments. All wind instruments use the breath, embouchure, and occasionally tuning slide adjustments or alternate fingerings to adjust tuning on the small scale. Even guitarists have some options for tuning adjustment, but ...

Microtonal is tricky on MIDI because it separates the space between half-tones into 128 equal notes. I'm surprised any normal MIDI player won't integrate pitch bend as a microtonal parameter - is that how you are doing it? I've been trying to work on a continuous pitch controller in MIDI. the issue is that depending on the MIDI player, the 0-128 can send ...

An article by Joe Monzo at http://tonalsoft.com/enc/s/savart.aspx defines the savart as 1/300 of an octave. A savart is calculated as the 300th root of 2, or 2(1/300), with a ratio of approximately 1:1.002313162. It is an irrational number. A savart has an interval size of approximately 4 cents. savart = 1000log10(f2/f1) cents = 1200log2(f2/f1)

With g being the new frequency, f being the frequency of reference, and k being the interval in number of semitones: g = f * 2ˆ(k/12) With k = 12 (one octave), you get g = 2 * f. With k = 0 (unison), you get g = f. In between, you get an exponential curve (power of two). For the frequency difference between g and f: g - f = f * [2^(k/12) - 1] Note ...

As a brassplayer, 442 on up seriously sucks. We are placed in the position of playing where the instrument doesn't resonate in the same way. Even 4 cents difference will render the slides too long even if the open instrument can be accomodated to a higher tuning frequency. Fie on brighter tuning!

Orchestras tune higher if they can get away with it because higher pitches sound more brilliant. This has led to inflation of standard pitch over time. There are, however, practical limits to how much inflation is possible, since audiences will cry foul if the result is closer to the next semitone up. Also, some instruments, such as pianos, can be damaged ...

Assuming that the intonation and tambre of the instruments/voices were maintained, there is one main difference that is dependent on the way you listen to music. People with strong relative pitch listen to a piece as a progression of intervals. The arpeggio C-E-G would be heard as M3-m3. This is a very effective way to think of music, but is also not the ...

I like your baby/island question, and it actually has some interesting answers. Not counting for timbre, range, or tuning system, there is nothing inherent in one key center or another that makes them more or less enjoyable. However, if you took those babies on their islands and switched them for a day, they would probably think that the other island's ...

Denemo (music score editor. free.) supports a few temperaments. Some Synth plugins (vsti...) lets you choose the temperament. Ideal, if you want to play live with a midi keyboard. Edirol Orchestral was one, but I think it's discontinued.

I found Mutabor which kind of does what I want. Also, there is a Python module called music21 that seems to do something of what I want. Not yet satisfied. It is sad these things are not well developed yet, given how long there has been interest...

I like this site for comparisons between different tunings. Wendy Carlos has also made synthesizer versions of Bach's works in different temperaments. So this can be interesting to look up.

I'm temped to say that all professional strings, winds, and choirs do this to some extent--you'll just be able to hear it with more clarity in small ensembles like a string quartet. A string quartet that played out of tune simply wouldn't be considered at a professional level. My trombone quartet, for example, worked on this to great extent just as an ...

I recently bought a recording of Schubert's "Die Schöne Müllerin" sung by a baritone. This song cycle has always been published in two versions, high-key (for sopranos and tenors) and low-key (for altos, baritones and basses). The recording has the low-key version. Throughout, the piano writing sounds too thick and heavy. The high-key version does not. ...

Cents, as the name implies, are 1/100th of a semitone (or "chromatic interval"), when working in 12-tone equal temperment (12-TET). So, as long as your definition of "savar" is in relation to a "chromatic interval" that is defined as a 12th of an octave, then you should be able to convert back and forth by simply defining 1 savar = 2 cents. However, if the ...

In case you were waiting for it (and I know you weren't), there's another piece synthesized with pythogoras. It's Beethoven's Romanza Op 50. Pythagorean: http://www.youtube.com/watch?v=APfI69-d7zw Just Intonation: http://www.youtube.com/watch?v=gTmWPU1ENd0 Tempered: http://www.youtube.com/watch?v=U4kk09r6YIc I'll start working on adding timbres as a next ...

It's interesting to note that before the standardization onto A=440 in the 1910-1930 period, orchestral woodwind and brass players had to own two sets of instruments, one of which could be tuned to the lower standard pitch, and one of which could be tuned to the higher standard pitch. That's the only way they could get work with different orchestras who ...

Midi actually has a 20-year old ratified specification extension just for this. Any synth that supports that extensions should support those temperaments (although you might need an approriate midi interface too). The wikipedia page for the extension page lists a numer of soft-synths that support the extension.

Mutabor allows you to use arbitrary tunings and works on a couple of platforms. It accepts MIDI input from keyboards and files. On Mac I've had some trouble getting it set up, and the translation to English is not done yet, but it has great potential...