Consonance Piano Tuning From Pure12ths

[@stevennorsworthy2191]

The Pure 12th system was invented 40 years ago by a German named Bernhard Stopper. It is the best Equal Temperament system every invented The 12th is the 5th above the octave. It perfectly balances the 5th, octave, and 12th It is theoretically the optimum You can hear the incredible openness and clarity… I know of no one who has ever produced a better sounding tuning than my example here. Since the 3rds and 10ths automatically fall into proper place, there becomes no need to bother tuning them directly by their fast beat counts.

[@unequally-tempered]

Yes - it's very beautiful. But it's not the _only_ way of achieving a similar beauty. Your demonstration here is, however, perfect.

[@PianoSens-ey8jb]

Then try the exact same exercise that I played with an UT tuning. It will not, by definition, have this consonance. It can't. Go chromatically up and imitate exactly what I did. UT cannot achieve consistency chromatically.

[@unequally-tempered]

@@PianoSens-ey8jb But that's the point! UT enables keys to open doors to different sounds . . . and how I tune UT isn't how conventional pianotechs understand how to tune. kzbin.info/www/bejne/gKfVeIlrbb-md7c is a recent concert. There are two ways to tune and I tune the other.

[@PianoSens-ey8jb]

@@unequally-tempered UT theoretically simply cannot achieve consonances of the 5ths, 4ths, octaves, 12ths, double octaves, and 19ths in a symmetrically balanced way. The consonance intervals are universal to all music. Hence, it is the purest way and most consistent chromatically as well.

[@unequally-tempered]

@@PianoSens-ey8jb UT isn't meant to. Music involves also perfect thirds and minor thirds of varying widths and emotion is conveyed by such. Just as the clue is in the word "key" and what a key does in opening a door, Chromatic means colour which is not achieved in Equal Temperament by going up a staircase of pitches. It is achieved, however, in the places to which doors are opened by keys.

[@PianoSens-ey8jb]

I do not criticize others for their tuning preferences. I just love the pure sound of the consonant intervals and I am yet to find any piece of music from any period that is not aesthetically pleasing from this technique. There is a connection between the elegance of the math and the aesthetic results, as there should be. The fact that the 5ths and octaves are inversely balanced allows the 'cancellation' of these intervals. There is nothing that is more important in my musical training than this. The fact that there is as much minor 3rds as major 3rds allows me to conclude that the over-emphasis of UT on major 3rds is not logical.