12 WT (d'Alembert-Rousseau)
For a general introduction to European historical tunings and these presets, please visit Introduction to European historical tunings and temperaments.
About this tuning
12-tone well temperament d'Alembert-Rousseau (1752). Four fifthsPitches a fifth apart have a 2:3 frequency ratio (in just intonation) or a difference of 700 cents (in 12 tone equal temperament).Visit the link to learn more are each narrowed by 1/4 of a quintalIn Just/Rational Intonation tunings, ratios are often categorized by the prime numbers that constitute them. The Latin-derived terms "tertial" and "quintal," initiated by composer Catherine Lamb, are used to semantically describe the color and function qualities of the specific primes referenced (3 and 5), as well as the chordal and scale structures these primes generate. Higher primes have traditionally been named in similar manner, i.e. "septimal" (7), "undecimal" (11), "tridecimal" (13), etc.Visit the link to learn more (Syntonic) commaA comma is a small difference in pitch between the same interval in different tuning systems.Visit the link to learn more: C-G, G-D, D-A, A-E. Four fifths are each narrowed by 1/12 of a tertialIn Just/Rational Intonation tunings, ratios are often categorized by the prime numbers that constitute them. The Latin-derived terms "tertial" and "quintal," initiated by composer Catherine Lamb, are used to semantically describe the color and function qualities of the specific primes referenced (3 and 5), as well as the chordal and scale structures these primes generate. Higher primes have traditionally been named in similar manner, i.e. "septimal" (7), "undecimal" (11), "tridecimal" (13), etc.Visit the link to learn more comma (plus 1/4 schisma to compensate for the quarter-comma meantone fifths): E-B, B-F♯, F♯-C♯, C♯-G♯. The remaining four fifths are tuned 1/12 tertial comma larger than 2:3.
Learning more
- Klaus Lang: Auf Wohlklangswellen durch der Töne Meer