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Wolf interval

The wolf interval is a severely dissonant musical interval, typically an imperfect fifth called the wolf fifth, that emerges in unequal tuning systems such as meantone temperament, producing a harsh, beating sound akin to a howling wolf due to its deviation from just intonation.^[1] This interval arises from the inherent mathematical incompatibility between generating a complete chromatic scale via chains of fifths and the fixed framework of octaves, leading to an accumulated error known as the Pythagorean comma of approximately 23.46 cents.^[2] In meantone temperaments, which prioritize pure major thirds (5:4 ratio, about 386 cents) by narrowing perfect fifths (3:2 ratio, 702 cents) from their Pythagorean size, eleven such tempered fifths cover most of the keyboard harmonically, but the twelfth "closes" the circle imperfectly, creating the wolf.^[3] Quarter-comma meantone, the most historically prominent variant introduced in the early 16th century, tempers each fifth down by one-quarter of the syntonic comma (about 5.38 cents), resulting in fifths of roughly 697 cents; the wolf fifth is then approximately 41 cents sharper than these, measuring around 738 cents and often functioning enharmonically as a diminished sixth between notes like G♯ and E♭.^[2] This dissonance limited composers to a subset of keys—typically those with fewer sharps or flats—avoiding the wolf's placement in remote tonalities during the Renaissance and Baroque periods.^[3] Despite its drawbacks, the wolf interval influenced keyboard music composition, with figures like Johann Jakob Froberger occasionally exploiting its expressive discordance for rhetorical effect in works such as toccatas and suites, enharmonically shifting notes to invoke tension or resolution.^[3] The adoption of equal temperament in the 18th century, which distributes comma errors evenly across all intervals, eliminated the wolf but at the cost of slightly impure thirds, marking a shift toward greater key flexibility in Western music.^[4]

Fundamentals

Definition and Auditory Impact

In music theory, just intonation refers to a tuning system based on simple integer ratios of frequencies, such as the perfect fifth with a ratio of 3:2, which produces a pure, consonant sound without perceptible beats between the notes.^[5] To quantify pitch differences, intervals are measured in cents, where one cent equals 1/100 of a semitone in equal temperament, allowing precise comparison to ideal ratios; for instance, the just perfect fifth spans 702 cents.^[6] The wolf interval is defined as the most severely dissonant interval in certain tuning systems, typically an imperfect fifth—either flattened or sharpened depending on the tuning system—or enharmonically an augmented fourth or diminished sixth, resulting from tempering pure intervals to close the circle of fifths within a fixed number of notes.^[6] This compromised interval arises because stacking pure fifths (3:2 ratios) exceeds exactly seven octaves by a small discrepancy known as the Pythagorean comma, necessitating the narrowing or widening of some fifths to fit the chromatic scale.^[7] Auditorily, the wolf interval produces a harsh, unstable dissonance characterized by rapid beating frequencies between the two tones, creating an undulating amplitude that sounds more grating and unpleasant than other tempered intervals like slightly narrow major thirds.^[6] These beats, often exceeding 1 per second at typical keyboard pitches, evoke a "howling" or wailing quality, making the interval particularly jarring in harmonic progressions and historically avoided in keys where it occurs.^[7] The term "wolf" originated in the 16th century, during the widespread use of meantone temperament on organs, where the dissonant interval—often between G♯ and E♭—was likened to the howl of a wolf due to its eerie, wavering timbre in performance.^[7]

Mathematical Basis

In just intonation, intervals are derived from simple integer frequency ratios, providing a foundation for understanding discrepancies in tempered systems. The pure perfect fifth corresponds to the ratio 3:2, measuring approximately 701.955 cents, calculated as $1200 \log_2(3/2). Similarly, the pure major third has a ratio of 5:4, equating to about 385.911 cents, or $1200 \log_2(5/4). These values represent consonant intervals free from the beating that arises in approximations.^[8]^[8] The circle of fifths illustrates the mathematical challenge in closing the octave cycle within a 12-note framework. Stacking 12 pure fifths yields a total of $12 \times 701.955 \approx 8423.46 cents, exceeding seven octaves (8400 cents) by 23.46 cents, known as the Pythagorean comma. This excess, with ratio (3/2)^{12} / 2^7 = 531441/524288 \approx 1.013643, represents the discrepancy that must be distributed in any temperament, resulting in at least one "wolf" interval that deviates from purity.^[8]^[9] The Pythagorean comma arises solely from powers of 2 and 3, while the syntonic comma, involving the prime 5, measures the difference between the Pythagorean major third (ratio 81/64 ≈ 407.82 cents) and the just major third (5/4). Its ratio is 81/80 = 1.0125, or approximately 21.506 cents ($1200 \log_2(81/80)), and it equals four fifths minus two octaves and a just major third: (3/2)^4 / (2^2 \times 5/4) = 81/80. Temperaments often temper out one or both commas to approximate just intervals across the scale.^[9]^[8] In a given temperament with a wolf interval, where 11 fifths are tempered to size f cents, the wolf fifth size is $7 \times [1200](/page/1200) - 11 \times f cents. Equivalently, the deviation from the tempered fifth is $8400 - 12 \times f cents (positive value indicates a sharpened wolf, negative a flattened one), and the wolf size is f plus this deviation. This formulation highlights the trade-off: equal distribution minimizes the largest deviation but compromises all intervals slightly.^[10]^[11]

Historical Context

Origins in Ancient and Medieval Theory

The foundations of interval discrepancies later termed the wolf interval trace back to ancient Greek music theory, particularly through Pythagoras' experiments around 500 BCE using the monochord, a single-string instrument that demonstrated consonant intervals via simple numerical ratios. Pythagoras identified the perfect fifth as the ratio 3:2, derived by dividing the monochord string in that proportion to produce harmonious sounds, and extended this to construct scales by stacking such fifths, revealing an early awareness of the "comma" as the small discrepancy when twelve fifths exceeded seven octaves by approximately 23.46 cents, known today as the Pythagorean comma.^[12] This limitation in scaling pure fifths without perfect closure highlighted inherent tuning challenges in generating a complete chromatic scale, though not yet framed as a dissonant "wolf." In medieval Europe, these Greek principles were systematized by Boethius in his De institutione musica (c. 510 CE), which treated music as a mathematical discipline and detailed the construction of diatonic scales using stacked fifths (3:2 ratios) and tones (9:8), incorporating tetrachords with two tones and a semitone (limma, 256:243). Boethius described the greater perfect system as comprising conjunct and disjunct tetrachords spanning two octaves plus a tone, where accumulating fifths in polyphonic practices like early organum—emerging around the 9th century—began to expose practical tuning limits without explicit resolution, as the comma (81:80) represented the excess of six tones over an octave.^[13] His work preserved Pythagorean ratios while emphasizing their application to scalar frameworks, influencing scholastic theory up to the 12th century. Guido d'Arezzo further advanced music pedagogy in the 11th century through his hexachord system, outlined in Micrologus (c. 1025–1028), which divided the diatonic gamut into overlapping six-note hexachords starting on G (durum), C (naturalis), and F (mollis) to facilitate sight-singing of plainchant. This system guided mutations between hexachords, ensuring semitones fell consistently between mi-fa.^[14] Preceding the specific "wolf" terminology, ancient and Byzantine theorists referenced related microintervals as precursors, such as the enharmonic diesis in Greek tetrachord divisions—a quarter-tone-like interval (e.g., 135:128 in some genera)—and the schisma (32805:32768, about 1.95 cents), the difference between the apotome and limma semitones, which underscored enharmonic equivalences and tuning inconsistencies in modal systems from Archytas (c. 428–347 BCE) onward.^[15] These concepts, transmitted through Byzantine treatises like those of Manuel Bryennios (14th century) but rooted in earlier Greek sources, provided the theoretical groundwork for recognizing accumulated interval errors in scalar progressions.^[16]

Renaissance and Baroque Developments

During the Renaissance, the development of intricate polyphonic music by composers such as Josquin des Prez placed greater emphasis on consonant intervals like major thirds and sixths, which were rendered more purely in meantone tuning on keyboard and plucked instruments. Organs tuned in meantone, common in churches across Europe, allowed for harmonious vertical sonorities in polyphonic textures, but the resulting wolf interval—typically a dissonant fifth between G♯ and E♭—emerged prominently when chaining multiple pure thirds, creating audible harshness in certain harmonic progressions. Lutes, fretted to approximate meantone intervals, similarly benefited polyphony's layered lines but exposed the wolf in remote harmonic areas during ensemble playing.^[17]^[18]^[19] The fixed-pitch nature of early keyboard instruments, including harpsichords and virginals, necessitated temperament decisions that confined the wolf interval to less frequently used keys, thereby restricting composers' modulation options to avoid its dissonance. In quarter-comma meantone, prevalent on these instruments from the late 15th century onward, the wolf manifested as a narrow fifth in remote tonalities like G♯ minor, compelling performers to favor central keys for tonal stability. This constraint shaped Renaissance and early Baroque keyboard repertoire, where the instrument's temperament directly influenced harmonic choices to maintain consonance.^[20]^[21] A pivotal moment in theoretical discourse occurred in 1577 with Francisco de Salinas's publication of De musica libri septem, which systematically described meantone temperaments—including variants dividing the syntonic comma into thirds, fourths, and sevenths—and addressed the dissonant interval arising from the imperfect closure of the circle of fifths in standard keyboard tunings. Salinas proposed solutions like a 19-tone equal division to mitigate its severity, influencing Spanish and broader European organ practices. The term "wolf fifth," alluding to its howling, dissonant sound, entered music theory discourse in the early 17th century.^[22]^[23] In the Baroque period, innovations by theorists Andreas Werckmeister and Johann Kirnberger advanced irregular temperaments that dispersed the comma's error across multiple fifths, thereby tempering the wolf's impact and enabling freer use of common keys without a single egregious dissonance. Werckmeister's third temperament (1687), for instance, flattened select fifths variably to balance major and minor tonalities, while Kirnberger's schemes (late 18th century) similarly distributed irregularities, promoting versatility on harpsichords and organs. These approaches reflected a shift toward well-tempered systems, reducing the wolf's dominance in practical music-making.^[24]^[25] The wolf interval's presence influenced compositional strategies, as seen in Claudio Monteverdi's works, where avoidance of modulations into keys containing the wolf—such as those invoking the G♯-E♭ fifth—preserved harmonic purity amid the era's expressive demands. In the Artusi-Monteverdi controversy, Monteverdi alluded to the meantone wolf's limitations, underscoring its role in constraining yet defining early Baroque harmonic exploration.^[26]

Occurrence in Tunings

Pythagorean Tuning

Pythagorean tuning constructs the musical scale exclusively from perfect fifths with a frequency ratio of 3:2 and octaves of 2:1, generating the 12 notes of the chromatic scale through successive stacking and octave reduction. This method produces pure fifths throughout most of the circle of fifths, but the full loop of 12 fifths exceeds seven octaves by the Pythagorean comma, a small interval of approximately 23.46 cents calculated as $1200 \log_2 (3^{12} / 2^{19}).^[27]^[28] Within this framework, the wolf interval appears as a narrow imperfect fifth, sized at approximately 678.49 cents with a frequency ratio of (3/2) \times (2^{19}/3^{12}), located typically between G♯ and E♭ (or enharmonic equivalents like A♭ and D♯), where the comma's accumulation distorts the closure of the 12-fifth loop, producing a harsh dissonance. This arises because 11 pure fifths span 7719.55 cents (6 octaves + 519.55 cents), and to fit within 7 octaves (8400 cents), the 12th fifth is flattened by the comma. Mathematically, it is given by $1200 \log_2 \left( (3/2)^{11} / 2^7 \times 2^{19}/3^{12} \right) adjusted, but equivalently $1200 \log_2 (3^{12} / 2^{19}) subtracted from a pure fifth.^[27]^[29] Additionally, the ditone or major third (81:64, 407.82 cents) is noticeably wider and dissonant compared to the just major third of 5:4 (386.31 cents), arising from stacking four perfect fifths reduced by two octaves: $4 \times 701.955 = 2807.82 cents, or $1200 \log_2 (81/64), though this is distinct from the wolf fifth.^[30] Historically, Pythagorean tuning prevailed in ancient Greek music theory, where it underpinned modal structures derived from simple integer ratios involving the primes 2 and 3, as documented in works attributed to Pythagoras and later theorists like Ptolemy. It suited early monophonic music, such as chants and lyre accompaniments, emphasizing melodic purity over vertical harmony, but proved less ideal for polyphonic textures due to the harsh major thirds that introduced beating and tension.^[31]^[32]

Quarter-Comma Meantone

Quarter-comma meantone temperament tempers each perfect fifth downward by one quarter of the syntonic comma, approximately 5.38 cents, from the just intonation value of about 701.96 cents, resulting in a tempered fifth of 696.58 cents.^[1] This adjustment purifies the major third to the just intonation ratio of 5:4, measuring approximately 386.31 cents, which sounds consonant and aligns with the natural harmonics preferred in Renaissance and early Baroque music.^[1] The syntonic comma, referenced in the mathematical basis of tuning systems, arises as the small interval (81/80 ratio, about 21.51 cents) between certain just intervals and their Pythagorean counterparts.^[33] In this system, the wolf interval manifests as a particularly dissonant fifth, sized at approximately 737.64 cents with a frequency ratio of $2^7 / 5^{11/4} \approx 1.530, typically located between G♯ and D♯ (or enharmonically E♭).^[1] This wolf fifth arises because the twelve successive tempered fifths fall short of exactly seven octaves by about 41.06 cents, necessitating the enlargement of one interval to close the circle of fifths.^[33] The circle of fifths in quarter-comma meantone closes via 11 tempered fifths plus one wolf fifth equaling seven octaves (8400 cents), as expressed in the equation:

\text{wolf fifth} = 7 \times 1200 - 11 \times 696.58 \approx 737.64 \text{ cents},

where the tempered fifth is $1200 \log_2 (5^{1/4}) \approx 696.58 cents.^[1] This structural compromise confines usable keys to those avoiding the wolf, such as the central sharp and flat keys around C. Auditorily, the wolf fifth exhibits extreme beating rates due to its deviation from just intonation, producing a harsh, howling dissonance that renders it unsuitable for harmonic progressions in affected remote keys like F♯ major or E♭ major.^[34] This sonic "wolf" limited modulation but enhanced the sweetness of pure thirds in common keys, contributing to the temperament's expressive character. Historically, quarter-comma meantone became the standard tuning for Renaissance-era keyboard instruments, including organs and viols, and was commonly applied to English virginals around 1600, as documented in contemporary treatises like Michael Praetorius's Syntagma Musicum (1619).^[34] Its adoption reflected a priority on consonant thirds for polyphonic music, influencing composers from the late 15th to early 18th centuries.^[1]

Five-Limit Just Intonation

Five-limit just intonation constructs musical intervals using rational ratios derived solely from the prime numbers 2, 3, and 5, such as the major third (5/4) and perfect fifth (3/2), enabling pure consonant sonorities without the constraints of a fixed equal-tempered scale.^[35] Unlike tempered systems, this approach does not prescribe a rigid 12-note chromatic scale; instead, pitches are selected contextually from an infinite lattice of possible ratios, allowing performers to retune dynamically for harmonic purity in any key or mode.^[36] In this open tuning lattice, the wolf interval is absent as an inherent feature, since intervals can always be chosen as pure 5-limit ratios without forcing dissonant approximations to close a circle of fifths.^[37] However, an "effective wolf" may arise when attempting to impose a closed 12-note scale, where discrepancies from otonal (upward harmonic) and utonal (downward subharmonic) chains accumulate, typically manifesting as the schisma of approximately 1.95 cents rather than a larger dissonance.^[38] For instance, the Pythagorean major third (81/64) deviates from the just major third (5/4) by the syntonic comma (81/80 ≈ 21.51 cents), and similar splits occur in intervals like the minor sixth, where variant forms such as 80/63 (≈413.58 cents) highlight minor adjustments needed for consistency in extended chains.^[36] The schisma itself is calculated as the difference between the Pythagorean comma and the syntonic comma:

\text{schisma} = \log_2\left(\frac{531441}{524288}\right) - \log_2\left(\frac{81}{80}\right) \approx 23.46 - 21.51 = 1.95 \text{ cents},

distributing this tiny comma across the scale to minimize perceptible wolves.^[39] If a Pythagorean approximation is mistakenly used for the major third in a 5-limit context, it yields a potential wolf third of \log_2(81/64) \approx 407.8 cents, far from the pure 386.3 cents of 5/4.^[39] This system's flexibility finds practical application in a cappella vocal ensembles and fretless string instruments, where singers or players adapt pitches in real time to maintain pure intervals, effectively eliminating wolves through contextual tuning rather than fixed temperament.^[37]

Mitigation Approaches

Retaining Standard Keyboard Layouts

One approach to mitigating the wolf interval while preserving the standard 12-key linear keyboard layout involves irregular temperaments, such as Andreas Werckmeister's third temperament proposed in 1687. This system narrows four fifths by one quarter of the syntonic comma (approximately 5.4 cents each, to about 696.6 cents), while the remaining eight are tuned pure (702 cents), distributing the Pythagorean comma across multiple intervals rather than concentrating it in a single harsh wolf fifth. As a result, it creates several minor "wolves" that are less objectionable, enabling usability across most keys without drastically altering the familiar keyboard design.^[40] Well-tempered variants build on this by further diffusing the comma through subtle variations in fifth sizes, typically by 1-2 cents from pure, to avoid a prominent wolf while maintaining playability in all keys. Johann Sebastian Bach's The Well-Tempered Clavier (1722 and 1742) exemplifies this philosophy, advocating for tunings where the imperfections are spread evenly, allowing the full circle of fifths to circulate without a localized dissonance that would render certain keys unusable on a standard harpsichord or clavichord.^[41] Circulating temperaments like 12-tone equal temperament (12-TET) eliminate the wolf entirely by standardizing all 12 fifths at exactly 700 cents, closing the circle of fifths perfectly and ensuring enharmonic equivalence across the keyboard. However, this uniformity tempers every interval away from its just intonation counterpart, introducing slight dissonance in major thirds (about 14 cents sharp) and other consonant intervals as the price for versatility.^[42] The 12-key layout imposes inherent limitations, as the fixed enharmonic pairs (e.g., G♯/A♭) prevent independent tuning of notes to achieve pure intervals in multiple keys simultaneously. Historical harpsichord tunings, such as those derived from Werckmeister or Vallotti systems, often positioned any residual wolves in remote tonalities like F♯ major or D♯ minor, preserving sweeter sounds in common keys like C major or G major for Baroque repertoire.^[43] These methods retain the advantages of enharmonic equivalence and straightforward transposition on the standard keyboard, facilitating performance of music in diverse keys without retraining musicians. Yet, they sacrifice the purity of just intervals, resulting in tempered thirds and fifths that, while functional, lack the acoustic clarity of untempered systems and can introduce subtle beating in chords.^[44]

Exploring Multidimensional Tuning Systems

Multidimensional tuning systems expand beyond the constraints of the traditional 12-note linear keyboard by incorporating additional pitches or geometric layouts, thereby distributing tempering discrepancies like the syntonic comma across a larger structure to avoid concentrated wolf intervals. These approaches leverage higher divisions of the octave or multi-dimensional mappings to realize pure intervals such as fifths and thirds in all keys without forcing a dissonant closure in the circle of fifths.^[33] Extended keyboards address the wolf interval by increasing the number of tones per octave and incorporating split sharps, allowing for more precise approximations of meantone temperament. In 31-tone equal temperament, the octave is divided into 31 equal steps, producing fifths of approximately 696.77 cents that closely match the quarter-comma meantone fifth while forming a closed circle of 31 fifths, eliminating the need for a wolf fifth by evenly distributing the syntonic comma across all intervals.^[33] This system supports pure major thirds of 387.10 cents, enabling consonant triads in every key without the compromises of 12-tone layouts.^[33] Similarly, historical meantone keyboards with split sharps divide ambiguous black keys (e.g., splitting the G♯/A♭ key) to provide distinct pitches for enharmonic equivalents, relocating potential wolf intervals to unused edges of the keyboard and accommodating pure fifths and thirds throughout the diatonic scale.^[45] Lattice-based systems, such as those derived from Valotti or meantone temperaments, represent pitches in a two-dimensional grid where one axis aligns with fifths and the other with major thirds, permitting dynamic key placement to circumvent comma accumulation. In a meantone lattice, notes are positioned to maintain consistent interval ratios without linear closure forcing a wolf; instead, the structure wraps cylindrically, tempering the syntonic comma uniformly to preserve interval purity across transpositions.^[46] Valotti temperaments, tempering six fifths by one-sixth of the syntonic comma, integrate into such lattices to balance major and minor keys, avoiding severe dissonances by allowing flexible navigation that bypasses the traditional wolf position between G♯ and E♭.^[47] Non-12-note approaches further mitigate the wolf interval through isomorphic keyboards that support 19-limit or higher just intonation, providing additional dimensions for interval realization. The Bosanquet keyboard, with its hexagonal or rectangular key layout spanning 36 to 72 tones per octave, enables precise rendering of intervals up to the 19th harmonic by assigning unique keys to microtonal distinctions, thus avoiding comma drift and wolf intervals inherent in fixed 12-note systems.^[48] This design facilitates 19-limit just intonation, where ratios like 18:17 or 16:15 are distinctly playable, extending harmonic possibilities without tempering compromises.^[48] A representative example is the 53-tone equal temperament, which finely distributes the syntonic comma across its scale to approximate five-limit just intonation, 53-tone equal temperament, which provides excellent approximations to 5-limit just intonation intervals due to its position in the continued fraction expansion of relevant logarithmic ratios. In this system, each step measures about 22.64 cents, yielding fifths of 701.89 cents—nearly pure—and thirds close to just values, preventing any single interval from absorbing the full comma discrepancy.^[49] These multidimensional systems offer significant advantages, including the ability to compose and perform in all keys with uncompromised consonance, fostering innovation in microtonal music by unlocking extended harmonic resources without the limitations of wolf intervals.^[50]

Modern and Experimental Solutions

In contemporary music production, digital tools enable precise retuning to mitigate the wolf interval's dissonance. Software such as Scala facilitates experimentation with diverse tunings, including those that distribute the Pythagorean comma more evenly across the scale to avoid concentrated wolves in synthesizers and virtual instruments.^[51] Similarly, Max/MSP environments support real-time temperament adjustments through objects like retune~, which import Scala files for microtonal pitch correction and dynamic scaling in electronic compositions.^[52] Microtonal genres in electronic music often employ xenharmonic scales to bypass traditional wolf problems inherent in 12-tone systems. Artists like Aphex Twin (Richard D. James) integrate these via custom plugins such as MTS-ESP, developed in collaboration with ODDSound, allowing seamless retuning of oscillators and effects to achieve consonant intervals without historical comma accumulations.^[53] This approach extends to world music adaptations, where software retuning adapts non-Western scales—such as those from gamelan or Arabic maqam traditions—to digital platforms, minimizing dissonant equivalents of the wolf through extended equal divisions.^[54] Dynamic intonation systems further address wolf-like dissonances by adapting pitches in performance contexts. Pitch-tracking algorithms in orchestral software, such as those for virtual string ensembles, monitor and adjust intonation in real-time to align with just intonation principles, reducing comma-induced beats during ensemble playback.^[55] Auto-tune variants, including expressive pitch warping tools, apply similar corrections to vocals and instruments, dynamically shifting intervals to avoid narrow fifths while preserving artistic variation.^[56] Post-2000 psychoacoustic research has advanced comma distribution strategies to eliminate wolf equivalents. The Bohlen-Pierce scale, based on the 3:1 tritave rather than the 2:1 octave, disperses interval inconsistencies evenly, as explored in studies of non-octave tunings for perceptual consonance.^[57] Wendy Carlos's alpha scales, extended in recent analyses, use unequal divisions (e.g., 19 or 34 steps per octave) to optimize harmonic purity without residual wolves, supported by computational models of auditory perception.^[58] Looking ahead, AI composition tools integrate optimal tuning algorithms unconstrained by historical keyboard layouts, generating scales that minimize dissonance through data-driven comma allocation. Such systems, building on mathematical frameworks for tuning optimization, enable automated creation of wolf-free harmonies in generative music.^[59]

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[34]
Just Intonation Explained - Kyle Gann
The most consonant interval besides the unison (1/1) is the octave (2/1), next the perfect fifth (3/2), then the perfect fourth (4/3 - even though European ...
[35]
Just Intonation and Mathieu's "Harmonic Experience" - Jeff Brent
In the simple diatonic example above, the FCGD note cannot be altered to fix the wolf ... five-limit lattice. The impossibility of that [ie. realizing common ...
[36]
Theoretical Background – Dr. Ross W. Duffin
Before that, the 3:2 ratio of the pure fifth and its resulting musical system—a whole tone derived from two pure fifths and a major third derived from four ...Missing: explanation | Show results with:explanation
[37]
http://www.jeff-brent.com/Lessons/JustIntonation.html
[38]
TEMPERAMENTS VII: Werckmeister III - Carey Beebe Harpsichords
Andreas Werckmeister (1645–1706) was an organ expert as well as musician and theoretician. He proposed several temperaments and it is his third “correct” ...
[39]
The Keyboard Temperament of J.S. Bach (by Charles Francis]
... tuning operations: this interval is a “wolf”, which needs to be dealt with. This is optimally achieved by spreading the wolf equally across the intervals: A ...
[40]
[PDF] the development of the equal temperament scale
The Greeks created eight note scales from the twelve tones and simply avoided the. “wolf” interval. These scales existed prior to the tuning method being ...<|control11|><|separator|>
[41]
[PDF] A consonance-based approach to the harpsichord tuning of ...
Its presumption is that Scarlatti would avoid passages using intervals that were markedly out-of- tune or dissonant in his tuning ~such as wolf fifths! except ...
[42]
[PDF] The Establishment of Equal Temperament
The interval that is out of tune is called the “wolf” interval and it is this interval that made it impossible to play in all twenty-four keys. Greeks called ...<|control11|><|separator|>
[43]
Technical Library - Carey Beebe Harpsichords
The trick is to split your wolf into two equal parts, which will allow your E♭ key to serve both as an E♭ and a D♯—equally compromized, but I hope eminently ...Missing: extended interval
[44]
meantone - Tonalsoft
The proper way to lattice a meantone, or any linear temperament, is as a cylinder which runs perpendicular to the vector of the interval being tempered out.Missing: avoiding accumulation
[45]
TEMPERAMENTS XVIII: Vallotti - Carey Beebe Harpsichords
Now we want to find the f a third below that a: Tune it pure first of all, but then widen the interval by flattening the f until you hear three distinct beats ...Missing: lattice | Show results with:lattice
[46]
The general keyboard, plays the same in every key. - John Allen
Mar 10, 2004 · This article describes the general keyboard, an alternative music keyboard which avoids many of the limitations of the conventional keyboard.
[47]
53 equal temperament - Microtonal Encyclopedia - Miraheze
Sep 9, 2018 · Mercator's comma is of such small value to begin with (≈ 3.615 cents), but 53 equal temperament flattens each fifth by only 1⁄53 of that comma ...Missing: distribution | Show results with:distribution
[48]
Paul Rapoport: About 31-tone equal temperament
In 31-tone equal temperament there are very close approximations to the intervals of meantone tuning, plus a closed circle of perfect fifths. Furthermore ...
[49]
Scala Home Page - Huygens-Fokker
Scala is a software tool for experimenting with musical tunings, including just intonation, equal, and historical temperaments, and non-Western scales.Scala Downloads · Scala References · Scala ExamplesMissing: modern solutions wolf
[50]
Scala and Custom Tuning Reference - RNBO - Cycling '74
RNBO supports several ways to define a custom tuning for MIDI/Frequency conversion using the specification used in the Scala system for musical tunings.Missing: modern wolf interval digital
[51]
Aphex Twin Develops New Microtuning Synth Plugin With UK Startup
Mar 29, 2021 · Richard D. James, the producer best known as Aphex Twin, has partnered with a British company called ODDSound to develop MTS-ESP, a software ...
[52]
Use MTS-ESP - ODDSOUND
Richard D James. Four years ago we started discussing the current state of tuning in electronic music making with Richard James (Aphex Twin). Support and ...
[53]
Dynamic Intonation Demystified - Strings Magazine
Dynamic intonation is a way of playing in which fingers don't just land about where they should to play in tune, but instead are trying to fit accurately ...
[54]
[PDF] Dynamic Pitch Warping for Expressive Vocal Retuning - DAFX
May 25, 2023 · Autotune is a full pitch correction system including the three steps described above: pitch detection, pitch correction and pitch modification.Missing: orchestras | Show results with:orchestras
[55]
[PDF] Tuning, Timbre, Spectrum, Scale
... scale.—2nd ed. 1. Sound 2. Tuning 3. Tone color (Music) 4. Musical intervals and scales 5. Psychoacoustics 6. Music—Acoustics and physics. I. Title. 781.2′3.
[56]
Generalized Carlos Scales - arXiv
Sep 27, 2025 · In 1986, composer Wendy Carlos introduced three unusual musical scales she called alpha, beta and gamma, equal temperament-inspired scales that ...Missing: eliminating wolf studies
[57]
[PDF] A MATHEMATICAL MODEL FOR OPTIMAL TUNING SYSTEMS
Donahue says of W3: “It may be the first documented temperament for key- board instruments that did not have a wolf interval” (26). Similarly, our framework ...