Pythagorean tuning in the context of "Consonance and dissonance"

Pythagoras of Samos (Ancient Greek: Πυθαγόρας; c. 570 – c. 495 BC) was an ancient Ionian Greek philosopher, polymath, and the eponymous founder of Pythagoreanism. His political and religious teachings were well known in Magna Graecia and influenced the philosophies of Plato, Aristotle, and, through them, Western philosophy. Modern scholars disagree regarding Pythagoras's education and influences, but most agree that he travelled to Croton in southern Italy around 530 BC, where he founded a school in which initiates were allegedly sworn to secrecy and lived a communal, ascetic lifestyle.

In antiquity, Pythagoras was credited with mathematical and scientific discoveries, such as the Pythagorean theorem, Pythagorean tuning, the five regular solids, the theory of proportions, the sphericity of the Earth, the identity of the morning and evening stars as the planet Venus, and the division of the globe into five climatic zones. He was reputedly the first man to call himself a philosopher ("lover of wisdom"). Historians debate whether Pythagoras made these discoveries and pronouncements, as some of the accomplishments credited to him likely originated earlier or were made by his colleagues or successors, such as Hippasus and Philolaus.

In music, an interval ratio is a ratio of the frequencies of the pitches in a musical interval. For example, a just perfect fifth (for example C to G) is 3:2 (Play), 1.5, and may be approximated by an equal tempered perfect fifth (Play) which is 2 (about 1.498). If the A above middle C is 440 Hz, the perfect fifth above it would be E, at (440*1.5=) 660 Hz, while the equal tempered E5 is 659.255 Hz.

Ratios, rather than direct frequency measurements, allow musicians to work with relative pitch measurements applicable to many instruments in an intuitive manner, whereas one rarely has the frequencies of fixed pitched instruments memorized and rarely has the capabilities to measure the changes of adjustable pitch instruments (electronic tuner). Ratios have an inverse relationship to string length, for example stopping a string at two-thirds (2:3) its length produces a pitch one and one-half (3:2) that of the open string (not to be confused with inversion).

In music theory, a comma is a very small interval, the difference resulting from tuning one note two different ways. Traditionally, there are two most common commata; the syntonic comma (80:81), "the difference between a just major 3rd and four just perfect 5ths less two octaves", and the Pythagorean comma (524288:531441, approximately 73:74), "the difference between twelve 5ths and seven octaves". The word comma used without qualification refers to the syntonic comma, which can be defined, for instance, as the difference between an F♯ tuned using the D-based Pythagorean tuning system, and another F♯ tuned using the D-based quarter-comma meantone tuning system. Pitches separated by either comma are considered the same note because conventional notation does not distinguish Pythagorean intervals from 5-limit intervals. Other intervals are considered commas because of the enharmonic equivalences of a tuning system. For example, in 53 TET, the harmonic seventh B♭ and A♯ are both approximated by the same interval although they are a septimal kleisma apart.

In musical tuning, a temperament is a tuning system that slightly compromises the pure intervals of just intonation to meet other requirements. Most modern Western musical instruments are tuned in the equal temperament system. Tempering is the process of altering the size of an interval by making it narrower or wider than pure. "Any plan that describes the adjustments to the sizes of some or all of the twelve fifth intervals in the circle of fifths so that they accommodate pure octaves and produce certain sizes of major thirds is called a temperament."

Temperament is especially important for keyboard instruments, which typically allow a player to play only the pitches assigned to the various keys, and lack any way to alter pitch of a note in performance. Historically, the use of just intonation, Pythagorean tuning and meantone temperament meant that such instruments could sound "in tune" in one key, or some keys, but would then have more dissonance in other keys.

Meantone temperaments are musical temperaments; that is, a variety of tuning systems constructed, similarly to Pythagorean tuning, as a sequence of equal fifths, both rising and descending, scaled to remain within the same octave. But rather than using perfect fifths, consisting of frequency ratios of value ${\displaystyle 3:2}$, these are tempered by a suitable factor that narrows them to ratios that are slightly less than ${\displaystyle 3:2}$, in order to bring the major or minor thirds closer to the just intonation ratio of ${\displaystyle 5:4}$ or ${\displaystyle 6:5}$, respectively. Among temperaments constructed as a sequence of fifths, a regular temperament is one in which all the fifths are chosen to be of the same size.

Twelve-tone equal temperament (12 TET) is obtained by making all semitones the same size, with each equal to one-twelfth of an octave; i.e. with ratios √2  : 1. Relative to Pythagorean tuning, it narrows the perfect fifths by about 2 cents or ⁠1/ 12 ⁠ of a Pythagorean comma to give a frequency ratio of ${\displaystyle 2^{7/12}:1}$. This produces major thirds that are wide by about 13 cents, or ⁠1/ 8 ⁠ of a semitone. Twelve-tone equal temperament is almost exactly the same as ⁠1/ 11 ⁠ syntonic comma meantone tuning (1.955 cents vs. 1.95512).

In musical tuning theory, a Pythagorean interval is a musical interval with a frequency ratio equal to a power of two divided by a power of three, or vice versa. For instance, the perfect fifth with ratio 3/2 (equivalent to 3/ 2) and the perfect fourth with ratio 4/3 (equivalent to 2/ 3) are Pythagorean intervals.

All the intervals between the notes of a scale are Pythagorean if they are tuned using the Pythagorean tuning system. However, some Pythagorean intervals are also used in other tuning systems. For instance, the above-mentioned Pythagorean perfect fifth and fourth are also used in just intonation.

In musical tuning, the Pythagorean comma (or ditonic comma), named after the ancient mathematician and philosopher Pythagoras, is the small interval (or comma) existing in Pythagorean tuning between two enharmonically equivalent notes such as C and B♯, or D♭ and C♯. It is equal to the frequency ratio (1.5)⁄2 = 531441⁄524288 ≈ 1.01364, or about 23.46 cents, roughly a quarter of a semitone (in between 75:74 and 74:73). The comma that musical temperaments often "temper" is the Pythagorean comma.

The Pythagorean comma can be also defined as the difference between a Pythagorean apotome and a Pythagorean limma (i.e., between a chromatic and a diatonic semitone, as determined in Pythagorean tuning); the difference between 12 just perfect fifths and seven octaves; or the difference between three Pythagorean ditones and one octave. (This is why the Pythagorean comma is also called a ditonic comma.)

Quarter-comma meantone, or ⁠1/4⁠-comma meantone, was the most common meantone temperament in the sixteenth and seventeenth centuries, and was sometimes used later. In this system the perfect fifth is flattened by one quarter of a syntonic comma (81:80), with respect to its just intonation used in Pythagorean tuning (frequency ratio 3:2); the result is ${\displaystyle {\tfrac {3}{2}}\times \left({\tfrac {80}{81}}\right)^{1/4}={\sqrt[{4}]{5}}\approx 1.49535,}$ or a fifth of 696.578 cents. (The 12th power of that value is 125, whereas 7 octaves is 128, and so falls 41.059 cents short.) This fifth is then iterated to generate the diatonic scale and other notes of the temperament. The purpose is to obtain justly intoned major thirds (with a frequency ratio equal to 5:4). It was described by Pietro Aron in his Toscanello de la Musica of 1523, by saying the major thirds should be tuned to be "sonorous and just, as united as possible". Later theorists Gioseffo Zarlino and Francisco de Salinas described the tuning with mathematical exactitude.