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Look through some 16th-century keyboard music: how many F#-major and Ab-major triads do you see?

Probably none, and if you do see some, it means the composer was counting on a meantone tuning centered around some pitch other than C.

In a purely consonant major third, the two strings vibrate at a frequency ratio of 5 to 4.

For example, if Or if G vibrates at 100 cycles per second, then B vibrates at 125, and so on.

Not until 1917 was a method devised for tuning exact equal temperament. What are we missing when we hear older music played in 20th-century equal temperament?

(Return to top menu) Let's start with Europe's most successful tuning, if endurance can be equated with success.So meantone tuning gives us eight usable major triads: on C, D, Eb, E, F, G, A, and Bb.If you're writing a piece in meantone, those are the major triads you have available.(If you'd like this explained in more detail, visit my Just Intonation Explained page.) The size of a pure 5:4 major third is 386.3 cents, a cent being one 1200th of an octave, or one 100th of a half-step.Since an octave is 1200 cents, by definition, it is easy to see that three pure major thirds (3 x 386.3 cents = 1158.9) do not equal an octave.

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If you want to use I, IV, and V chords in your piece, you can write in the keys of C, D, F, G, A, or Bb major.

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