Uploaded by Violinissimo on Nov 6, 2011
This is a demonstration of "singing" intonation, as compared to the "tempered" pitch.
1. Tempered Piano
2. Add a "singing" pitch adjusted piano to show the magnitude of differences in some notes.
3. Flutes adjusted to singing intonation accompanied by a monotonic piano (tempered). But this difference in the piano is not conspicuous, because our ears are too accustomed to many pop music singers accompanied by tempered instruments.
4. Then the interesting part. The correction in the flutes are removed, instead, the piano is now adjusted to singing intonation. Something is noticeably wrong in not just one flute, but all three.
We usually do not notice the piano being out of tune, our ears are simply too accustomed to it.
5. Acoustic recording accompanied by, first, tempered and, second, adjusted strings. In many violin concerto performances, the orchestras are sort of tempered, and the ears are therefore accustomed. .
The "PURE" intonation people mostly experimented consists the major third, which consists two different "whole tones", 9/8 and 10/9. By making both of them either 10/9 or 9/8, one big problem of a rough sound when using it to play music (some kind of out-of-tune-ness) can be removed. In the former case, make both semitones 27/25, and the middle whole-tone 9/8; In the latter case, make semitones 16/15, and the middle whole tone 10/9. This results in an octave of 81/40 instead of 2/1. In the former case, a perfect fifth is bigger than the corresponding octave fraction (vs the logarithmic mean of 2/1). In the latter case, a perfect 5th is SMALLER (vs the logarithmic mean of 81/40). In building up musical tension, the former will modulate into the dominant, but the latter case, into the sub-dominant is needed. Theoretically it would be so. And that is also why soloists (sopranos and tenors) can be "flat" in the high notes. (To Youtube: Content of this video is Patent 2001 under name of writer).
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