music theory online : temperament & pitch calculator
lesson 27T
Dr. Brian Blood
to use the menu you must first enable javascript
previous lesson
::
next lesson
::
contents
::
index
::
manuscript paper
::
comments or queries?
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
10
|
11
|
12
|
13
|
14
|
15
|
16
|
17
|
18
|
19
|
20
|
21
|
22
|
23
|
24
|
25
|
26
|
27
|
28
|
29
|
30
|
31
|
32
|
33
|
34
|
35
|
36
|
37
|
38
|
39
|
40
|
41
|
42
|
43
|
44
temperament/tuning calculator in lesson 27
::
open interval calculator in a separate window
Analysis of published temperaments used in the temperament/tuning calculator in lesson 27
First, a warning. We have collected here data from a number of different sources. In some cases there is a lack of standardisation in the naming of some temperaments. The various Werckmeister temperaments are one example.
In some data, the intervals have been rounded to the nearest cent. We have combined sources where they are giving essentially the same figures but to different degrees of accuracy, using the source that provides accurate data to the greatest number of decimal points. Readers who have information on other useful or interesting temperaments are encouraged to contact us.
We treat D# at the top of the chain of 5ths as being of the same pitch-class as the Eb at the bottom. All the temperaments studied here have been designed so that this will be the case. All temperaments assume the octaves are pure (i.e. 2:1).
temperament/tuning
pitch of a'
(default value 440Hz)
choose temperament/tuning name
1/2 PC (like Kirnberger II) (L TC 22) (DH)
1/3 SC Meantone (L TC 09) (DH)
1/4 Comma Meantone (D 12.02) (DH)
1/4 Comma Meantone (N 1) (DH)
1/4 Comma Meantone (Pa 02) (DH)
1/4 Comma Meantone (Poletti p.41) (DH)
1/4 Comma Meantone (L TC 27) (DH)
1/4 Comma Meantone (L TC 02) (DH)
1/4 SC Meantone with Pythagorean accidentals (L TC 21) (DH)
1/5 Comma Meantone (Verheijen, Rossi) (B 028) (DH)
1/5 Comma Meantone (Pa 03) (DH)
1/5 Comma Meantone (Po p.40) (DH)
1/5 PC circulating C-G-D-A-E-B (L EMA p.16) (DH)
1/5 PC circulating F-C-G-D-A-E (L EMA p.17) (DH)
1/5 SC Meantone (L TC 03) (DH)
1/6 Comma Meantone (D 12.09) (DH)
1/6 Comma Meantone (Po p.39) (DH)
1/6 PC (L TC 31) (DH)
1/6 SC (L TC 04) (DH)
1/6 Comma Meantone (D 12.09) (DH)
1/6 PC (L TC 31) (DH)
1/6 SC (L TC 04) (DH)
1/7 Comma (B 035) (DH)
1/8 Comma (B 036) (DH)
1/9 Comma (B 037) (DH)
1/pi SC (L TC 24) (DH)
18th c. English 'Ord' (Pa 12) (DH)
18th c. French 'Ordinaire I' (Pa 13) (DH)
18th c. French 'Ordinaire II' (Pa 14) (DH)
18th c. Italian (Pa 15) (DH)
2/7 SC (L TC 19) (DH)
2/9 SC (L TC 19) (DH)
Aaron (or Aron, Pietro) 1/4 Comma (B 022)
Aaron (or Aron, Pietro) 1/4 Comma (Kyle Gann)
Agricola (Martin, 1539, 1543, 1545) (IT)
Agricola's Pythagorean-based Monochord (12T & B 127 (DH))
Agricola's Monochord (B 088) (DH)
Ammerbach (1571) (IT)
Ammerbach (1573) Interpretation 1 (IT)
Ammerbach (1573) Interpretation 2 (IT)
Artusi's Monochord - Meantone with mean semitones (12T & B 124 (DH))
Bach (Billeter, Well-Tempered) (IT)
Bach (Kelletats, 1966) (IT)
Bach (Kellner, Well-Tempered) (IT)
Bach (Kellner, 1977) (IT)
Bach (Klais) (IT)
Bach 1722 (Lehman from title page of WTC) (L TC 29) (DH)
Bach 1722 (Lehman from title page of WTC) 1/6 Comma (L EMA) (DH)
Bach 1722 (PC transp. to D to simulate Chorton/Cammerton) (L EMA p.10) (DH)
Bach 1722 (SC interpretation) (L EMA p.11) (DH)
Bach 1722 (SC transp. to D to simulate Chorton/Cammerton) (L EMA p.12) (DH)
Bach 1722 (PC interpretation) (L EMA p.09) (DH)
Barbour's Correct No. 1 (Joe Monzo)
Barbour's Correct No. 2 (Joe Monzo)
Barnes (D 12.14) (DH)
Barnes (1971) (IT)
Barnes (1977) (IT)
Barnes 'Bach' (L EMA p.13) (DH)
Barnes 'Bach' (1979) 1/6 PC (L e&c) (DH)
Barnes 'Bach' (Po p.27) (DH)
Barnes 'Bach' (1/6 PC starting on F with one skip) (L TC 18) (DH)
Barnes 'Bach' (Pa 10) (DH)
Barnes' Vallotti and Young variation (12T)
Bendeler (Fractions) (IT)
Bendeler I (L EMA p.38) (DH)
Bendeler I - 1/3rd Comma (12T)
Bendeler I - 1/3rd Comma (B 137) (DH)
Bendeler I (N 7) (DH)
Bendeler II - 1/3 Comma (B 138) (DH)
Bendeler II (L EMA p.39) (DH)
Bendeler II (N 8) (DH)
Bendeler III - 1/4 Comma (12T & B 142 (DH))
Bendeler III (L EMA p.40) (DH)
Bendeler III (IT)
Bendeler III (N 9) (DH)
Ben Johnston's Overtone (Kyle Gann)
Bermudo (1555) (IT)
Bermudo's Vihuela (1/6, 1/2 P. Comma) (B 148) (DH)
Billeter (L e&c) (DH)
Billeter 'Bach' (L EMA p.14) (DH)
Bonded clavichord tuning no. 2 (B 125) (DH)
Bonded clavichord tuning no. 3 (B 126) (DH)
Bossart I (IT)
Bossart II (IT)
Bossart III (IT)
Bruder (1829) (IT)
Chromatic Just tuning
Colonna's Irregular Just no. I (B 130 (DH) & 12T)
Colonna's Irregular Just no. II (B 131) (DH)
Comma temperament (1/7) (IT)
Comma temperament (1/8) (IT)
Comma temperament (1/9) (IT)
Comma temperament (2/9) (IT)
Comma temperament (1/10) (IT)
Comma temperament (3/11) (IT)
Couperin modified Meantone (Po p.37) (DH)
De Caus' Monochord (12T & B 089 (DH))
Dechales' 'Guidonian' - 1/5th Comma (12T & B 029 (DH))
Diatonic (chromatic addition) (IT)
Dorf 1724 (N 10) (DH)
Dorf 1732 (N 13) (DH)
Dowland's Lute Tuning (12T & B 129 (DH))
Edskes/Jacobi (N 17) (DH)
Equal Temperament
Equal Temperament Perfect 4th (IT)
Equal Temperament Perfect 5th (IT)
Erlangen's Monochord (B 083) (DH)
Erlangen's Monochord (12T)
Euler's Monochord (12T & B 101 (DH))
Finchcocks - Byfield organ 1766 (Pa 17) (DH)
Fogliano's Monochord no 1 (12T & B 084 (DH))
Fogliano's Monochord no 2 (B 085) (DH)
Fogliano's Tempered Just Intonation (B 086) (DH)
Fogliano's Tempered Just Intonation revised (B 087) (DH)
Francis 'equal-beating cornet-ton' (L e&c) (DH)
Francis IV (L e&c) (DH)
Francis paper 3 (L e&c) (DH)
Galilei and Mersenne's Approximation (B 045) (DH)
Galilei's Approximation (B 044) (DH)
Galilei's Approximation (12T)
Galilei's temperament combined with PC (B 048) (DH)
Galilei's temperament with linear correction no. 1 (B 046) (DH)
Galilei's temperament with linear correction no. 2 (B 047) (DH)
Gallimard's Modified Meantone no. 1 (12T & B 115 (DH))
Gallimard's Modified Meantone no. 2 (B 116) (DH)
Ganassi (1543) (IT)
Approximation based on Ganassi's Monochord (B 058) (DH)
Ganassi's Monochord with mean semitones (B 119) (DH)
Geometrical approximation 19:12 for minor 6th (B 040) (DH)
Goebel (1967) (IT)
Grammateus (1518) (IT & B 118 (DH))
Grosse Stadt 1724 (N 12) (DH)
Grosse Stadt 1732 (N 15) (DH)
Hammond Organ Tuning (Joe Monzo)
Harmonic (12T)
Harrison's 3/10 Comma (12T & B 032 (DH))
Hawke's Modified 1/5th Comma (12T & B 114 (DH))
Hof 1732 (N 16) (DH)
Ho Tchheng-thyen's approximation (B 042) (DH)
Ho Tchheng-thyen's approximation improved (B 043) (DH)
Jencka (L e&c) (DH)
Jobin (L e&c) (DH)
Jorgensen's 'Handel' (L EMA p.20) (DH)
Just Intonation (Pa 22) (DH)
Just Intonation I (L TC 12) (DH)
Just Intonation (with augmented 4th)
Just Intonation (with diminished 5th)
Just Tempered (IT)
Just Tempered (Schugk) (IT)
Kelbe/Jacobi (N 18) (DH)
Kelletat (1960) (IT)
Kelletat (1966) (IT)
Kelletat (L e&c) (DH)
Kellner (IT & D 12.13 (DH)) or Kellner 'Bach' (L EMA p. 21) (DH)
Kellner 'Bach' (Po p.28) (DH)
Kellner 'Bach' (Pa 11) (DH)
Kepler's Monochord no. 1 (12T & B 090 (DH))
Kepler's Monochord no. 2 (B 091) (DH)
Kircher (IT)
Kirnberger - 1/2 Comma (12T)
Kirnberger (Andrew Purdam)
Kirnberger's 1/2 Comma (B 132) (DH)
Kirnberger I (1766) (IT)
Kirnberger II (1771) (IT) or Kirnberger II 1/2 Syn. Co. (L EMA p. 22) (DH)
Kirnberger II (1771) (Pa 06) (DH)
Kirnberger II (1776) (IT)
Kirnberger II modified (1776) (Pa 07) (DH)
Kirnberger II 1/4 SC (L TC 06) (DH)
Kirnberger III (1776) (IT & D 12.04 (DH))
Kirnberger III 1/4 SC (L EMA p.23) (DH)
Kirnberger III (Pa 08) (DH)
Kirnberger III (Po p.30) (DH)
Kleine Stadt 1724 (N 11) (DH)
Kleine Stadt 1732 (N 14) (DH)
Lambert (1774) (IT)
Lambert-Chaumont/Legros Modified 1/4 SC (L EMA p.42) (DH)
La Monte Young (Kyle Gann)
Lehman (2004) 1/6 SC (L e&c) (DH)
Leven's Monochord 'linear divisions' (12T & B 122 (DH))
Leven's Monochord 'altered form' (B 123) (DH)
Lindley (Donahue 12.15) (DH)
Lindley for Grosvenor Chapel (L EMA p.24) (DH)
Lindley suggestion 2 for Stanford Fisk organ (L EMA p.31) (DH)
Ling Lun (12T)
Lublin (1540) (IT)
Lucy Tuning (L TC 23) (DH)
Major 3rd and Perfect 5th beating equally (1/3.4 SC) (L TC 26) (DH)
Malcolm (Alexander, 1721) 'variant of Ganassi's' (IT & B 121 (DH))
Malcolm's Monochord (12T & B 099 (DH))
Marpurg's 1/3rd Comma (12T)
Marpurg's Monochord (12T)
Marpurg 1/3 PC skipping (L TC 17) (DH)
Marpurg A (1/12, 1/6 Comma) (B 165) (DH)
Marpurg B (1/12, 1/6 Comma) (B 161) (DH)
Marpurg C (1/12, 1/6 Comma) (B 159) (DH)
Marpurg D (1/12, 1/6 Comma) (B 154) (DH)
Marpurg E (1/12, 1/6 Comma) (B 166) (DH)
Marpurg I (IT & GB)
Marpurg II (IT)
Marpurg II (GB)
Marpurg III (IT)
Marpurg IV (IT)
Marpurg V (IT)
Marpurg VI (IT)
Marpurg VII (IT)
Marpurg VIII (IT)
Marpurg IX (IT)
Marpurg X (IT)
Marpurg XI (IT)
Marpurg XII (IT)
Marpurg's Monochord no. 1 (B 096) (DH)
Marpurg's Monochord no. 3 (1/12, 5/24 Comma) (B 097) (DH)
Marpurg's Monochord no. 4 (B 098) (DH)
Marpurg's no. 1 (1/12, 1/6 Comma) (B 163) (DH)
Marpurg's no. 1 (1/3 Comma) (B 139) (DH)
Marpurg's no. 2 (1/12, 5/24 Comma) (B 164) (DH)
Marpurg's temperament G (1/5 Comma) (B 144) (DH)
Maunder 'b' (L e&c) (DH)
Maunder 'c' (L e&c) (DH)
Meantone (Joe Monzo)
Meantone with two sharp 5ths (B 110) (DH)
Meantone (IT)
Meantone b (-1/4) (IT)
Meantone # (-1/4) (IT)
Meantone homogeneous (IT)
Meantone homogeneous 3rd (IT)
Meantone homogeneous graduated (IT)
Meantone (-1/4) large 3rd (IT)
Meantone small 3rd (IT)
Meckenheuser's division of SC (B 076) (DH)
Meister (IT)
Mercadier's (1/12, 1/6 Comma) (12T & B 153 (DH))
Mercadier 1777 (L EMA p.43) (DH)
Mersenne (Marin, 1636) (IT)
Mersenne (Fractions) (IT)
Mersenne's 1st geometrical approximation (B 041) (DH)
Mersenne's 2nd geometrical approximation (12T & B 039 (DH))
Mersenne's Improved Meantone no. 1 (12T & B 111 (DH))
Mersenne's Improved Meantone no. 2 (12T & B 112 (DH))
Mersenne's Lute Tuning no. 1 (12T & B 094 (DH))
Mersenne's Lute Tuning no. 2 (B 095) (DH)
Mersenne's Spinet Tuning 1 (12T & B 092 (DH))
Mersenne's Spinet Tuning 2 (12T & B 093 (DH))
Minor 3rds and Major 3rds beating equally (L TC 25) (DH)
Mobbs/MacKenzie (EM) (DH)
Mobbs/MacKenzie (L e&c) (DH)
Monochord from differences column no 1 (B 059) (DH)
Monochord from differences column no 2 (B 060) (DH)
Monochord from differences column no 3 (B 061) (DH)
Monochord from differences column no 4 (Equal Temperament) (B 062) (DH)
Montvallon's Monochord (12T & B 102 (DH))
Nassarre's Equal Semitones (12T)
Nassarre's Equal Semitones (B 049) (DH)
Nassarre and Galilei's Temperament (B 051) (DH)
Nassarre's Temperament idealised (B 050) (DH)
Natural (Andrew Purdam)
Naturally Harmonious (IT)
Naturally Harmonious 3rds (IT)
Near Equal Temperament (D 12.17) (DH)
Neidhardt (1724, Grosse Stadt) (IT & Po p. 20 (DH)
Neidhardt (1724, Grosse Stadt) (L EMA p.236) (DH)
Neidhardt (1724, Kleine Stadt) (Po p.21) (DH)
Neidhardt (1724, Kleine Stadt, 1732 Grosse Stadt) (L EMA p.25) (DH)
Neidhardt (1732, Dorf) (IT)
Neidhardt (1724, Dorf, 1732 Kleine Stadt) (Po p.22) (DH)
Neidhardt (1724, Dorf, 1732 Grosse Stadt) (L EMA p.27) (DH)
Neidhardt (1724, Dorf) (Po p.23) (DH)
Neidhart's 3rd Circle (12T)
Neidhart's 3rd Circle no. 1 (1/12, 1/4, 1/6 Comma) (B 174) (DH)
Neidhart's 3rd Circle no. 3 (1/12, 1/6 Comma) (B 158) (DH)
Neidhart's 3rd Circle no. 4 (1/12, 1/6 Comma) (B 157) (DH)
Neidhart's 3rd Circle no. 5 (1/12, 1/6 Comma) (B 160) (DH)
Neidhardt's 5th Circle (1/6 Comma) (12T)
Neidhardt's 5th Circle no. 3 (1/6 Comma) quasi ET (L EMA p.44 & B 147) (DH)
Neidhardt's 5th Circle no. 4 (1/4 Comma) (12T & B 143 (DH))
Neidhardt's 5th Circle no. 4 (1/6 Comma) (B 146) (DH)
Neidhardt's 5th Circle no. 5 (1/12, 1/6 Comma) (B 162) (DH)
Neidhardt's 5th Circle no 6 (1/12, 1/4 Comma) (B 167) (DH)
Neidhardt's 5th Circle no 7 (1/6, 1/4 Comma) (B 169) (DH)
Neidhardt's 5th Circle no 9 (1/12, 1/4 Comma) (B 168) (DH)
Neidhardt's 5th Circle no. 10 (1/6, 1/4 Comma) (B 170) (DH)
Neidhardt's 5th Circle no. 10 idealised (B 170) (DH)
Neidhardt's 5th Circle no 11 (1/12, 1/6, 1/4 Comma) (B 175) (DH)
Neidhardt's 5th Circle no 12 (1/12, 1/6, 1/4 Comma) (B 176) (DH)
Neidhardt's circulating Temperament no. 1 (1/12, 1/6 Comma) (IT, B 151 (DH))
Neidhardt's circulating Temperament no. 1 (1/12, 1/6 Comma) (Pa 09 (DH))
Neidhardt's circulating Temperament no . 2 (1/12, 1/6 Comma) (IT & B 155 (DH))
Neidhardt's circulating Temperament no 3 (1/12, 1/6 Comma) (IT & B 156 (DH))
Neidhardt's divison of SC (B 075) (DH)
Neidhardt's sample no. 2 (B 172) (DH)
Neidhardt's sample no. 3 (B 173) (DH)
Newcastle (Po p.38) (DH)
Oakes Park - English Organ 1790 (Pa 18) (DH)
Ordinaire (D 12.08) (DH)
Ordinaire (Po p.34) (DH)
Ordinaire (Veroli) (IT)
Ordinaire in style of Rameau/Rousseau (L TC 28) (DH)
Organ of Freiburg (Silbermann-Orgel, 1985) (IT)
Organ of Fribourg (Manderscheidt-Orgel, 1640) (IT)
Organ of Hamburg (Schnitger-Orgel, 1993) (IT)
Organ of Maihingen (Baumeister-Orgel, 1737) (IT)
Organ of Muri (Evangelien-Orgel) (IT)
Organ of Niederbobritzsch (Göthel-Orgel) (IT)
Organ of Weingarten (Gabler-Orgel, 1750) (IT)
Organ of Weingarten (Gabler-Orgel, 1983) (IT)
Practical Equal Temperament after Mersenne (B 079) (DH)
Pure Major (12T)
Pure Minor (12T)
Early Pythagorean chromatic tuning (Eb x G#)
Pythagorean tuning (IT, D 12.01 (DH), Po p.42 (DH), B 080 (DH))
Pythagorean - Mean Semitones (12T)
Pythagorean Comma (3-split) (IT)
Pythagorean Comma (4-split) (IT)
Pythagorean Comma (5-split) (IT)
Pythagorean Comma (6-split) (IT)
Pythagorean Comma (6 & 12-split) (IT)
Late Pythagorean chromatic tuning (F# x B)
Pythagorean Perfect (IT)
Rameau (IT)
Rameau (D 12.10) (DH)
Rameau (-1/4) (IT)
Rameau-Gallimard modified 1/4 SC (L p.41) (DH)
Rameau's Modified Meantone (Temp. Ord.) (Po p.36 & B 113) (DH)
Ramis de Pareia (1482) (IT)
Ramis de Pareia's Monochord (12T & B 081 (DH))
Regular 1/4 SC (L EMA p.04) (DH)
Regular 1/5 PC (L EMA p.05) (DH)
Regular 1/5 SC (L EMA p.06) (DH)
Regular 1/6 PC (L EMA p.07) (DH)
Regular 1/6 SC (L EMA p.08) (DH)
Regularly Varied 5ths (12T, B 178 (DH))
Reinhard's monochord (Andreas, 1604) variant of Ganassi's (IT & B 120 (DH))
Romieu's 1/7th Comma (12T)
Romieu's 1/8th Comma (12T)
Romieu's 1/9th Comma (12T)
Romieu's 1/10th Comma (12T)
Romieu's Monochord (12T & B 103 (DH))
Rossi (-1/5) (IT)
Rossi (-2/9) (IT)
Rossi 2/9 Comma (B 030) (DH)
Rousseau's Monochord (12T & B 100 (DH))
Royal Temperament (Pa 20) (DH)
Salinas' (-1/3) (IT)
Salinas' 1/3 Comma (B 027) (DH)
Salinas' Meantone (12T)
Schneegass I (1590) (IT)
Schneegass II (1590) (IT)
Schneegass III (1590) (IT)
Scheegaas' variation of Meantone (12T & B 031 (DH))
Schlick (Barbour) (IT)
Schlick (Dupont) (IT)
Schlick (Lange) (IT)
Schlick (Ratte) (IT)
Schlick (Schugk) (IT)
Schlick (Tessmer) (IT)
Schlick (Vogel) (IT)
Schlick modified Meantone (Po p.35) (DH)
Schlick's Temperament (Theoretical) (12T & B 117 (DH))
Schroeter's approximation no. 1 (B 055) (DH)
Schroeter's approximation no. 2 (B 057) (DH)
Schroeter's columns of differences no. 1 (B 054) (DH)
Schroeter's columns of differences no. 2 (B 056) (DH)
Silbermann 1/6 Comma (IT & B 034 (DH))
Silbermann (+1/6) (IT & Pa 04 (DH))
Silbermann/Freiber (N 25) (DH)
Silbermann/Gress 1 (N 21) (DH)
Silbermann/Gress 2 (N 22) (DH)
Silbermann/Sorge/Lange (N 20) (DH)
Silbermann/Wegscheider 1 (N 23) (DH)
Silbermann/Wegscheider 2 (N 24) (DH)
Siracusa (Italian) 17th Century Modified 1/4 SC (L EMA p.30) (DH)
Skip 1/6 PC (L TC 11) (DH)
Smith's 5/18 Comma (12T)
Smith's 5/18 Comma (B 033) (DH)
Sorge (D 12.11) (DH)
Sorge (IT)
Sorge 1744 “Cammerton harpsichords” (L EMA p.28) (DH)
Sorge 1744a (Po p.18) (DH)
Sorge 1744b (Po p.19) (DH)
Sorge 1747-8, for playing keyboards with winds (L EMA p.46) (DH)
Sorge 1758 (Po p.17, L EMA p.29) (DH)
Sparschuh (L e&c) (DH)
Sparschuh-Zapf - Bach 1722 (L e&c, L EMA p.45) (DH)
Stanhope (1801) (IT)
Stanhope (Po p.31) (DH)
Stanhope's 1/3rd Comma (12T & B 135 (DH))
Stevin's Monochord no. 1 (B 068) (DH)
Strahle's Geometrical (Faggot's figures) (12T & B 052 (DH))
Strahle's Temperament (correct figures) (B 053) (DH)
Symmetric septenarium 1/7 Comma (B 150) (DH)
Syntonic Comma (2-split) (IT)
Syntonic Comma (4-split) (IT)
Syntonic Comma (5-split) (IT)
Trost (Johann Caspar, 1677) (IT)
Valotti (1754) 1/6 PC (IT, Pa 12/16 (DH), L TC30 (DH) & D 12.05 (DH))
Valotti (Po p.25) (DH)
Vallotti/Tartini 1/6 PC interpretation (L EMA p.18) (DH)
Vallotti/Tartini 1/6 SC interpretation (L EMA p.15) (DH)
Valotti & Young (12T)
Valotti & Young (Terry Blackburn)
Van Zwolle, Arnout - Pythagorean (IT, L TC 01 (DH), Pa 21 (DH))
Variable MT 1: C-G-D-A-E 1/4, others 1/6 (L TC 13) (DH)
Variable MT 2: C-G-D-A-E 1/4, 1/5-1/6-1/7-1/8 outward (L TC 14) (DH)
Variable MT 3: C-G-D-A-E 1/4, 1/6 next, then Pythagorean (L TC 15) (DH)
Variable MT 4: 1/4 SC naturals, Pythagorean accidentals (L TC 16) (DH)
Verheijen's 1/5th Comma (12T)
Veroli (Ordinaire) (IT)
Vogel 1/5 PC circulating for Norden (L EMA p.34) (DH)
Vogel Hybrid MT for Stanford Fisk (L EMA p.33) (DH)
Vogel Hybrid Well Temperament for Stanford Fisk (L EMA p.32) (DH)
Vogel/Scheidemann/Praetorius (N 19) (DH)
Von Wiesse's no. 1 (1/2 Comma) (B 133) (DH)
Von Wiesse's no. 3 (1/2 Comma) (12T & B 134 (DH))
Wang Pho's Pythagorean-type Monochord (B 128) (DH)
Weissenfels/Gress (N 26) (DH)
Werckmeister I (III) 1/4 Comma (W, IT & N 2, L TC 07, Pa 05, Po p.29, B 140 (DH))
Werckmeister II (IV) 1/3 Comma (W, IT, L EMA p.36 (DH), B 136, N 3 (DH))
Werckmeister III (V) 1/4 Comma (W, IT & L EMA p.37, B 141, N 4 (DH))
Werckmeister IV (VI) the Septenarius tunings 'uncorrected' (W, B 149 (DH))
Werckmeister IV (VI) the Septenarius tunings 'corrected' (W)
Werckmeister VIa (N 5) (DH)
Werckmeister VIb (N 6) (DH)
Werckmeister IV (IT)
Werckmeister (Kellner) (Andrew Purdam)
Werckmeister Clavier 1/5 SC (Po p.33) (DH)
Werckmeister Clavier 1/6 SC (Po p.32) (DH)
Wiegleb (IT)
Wiegleb (1790) (IT)
Young (1799) (Kyle Gann)
Young (1800) (Pa 19) (DH)
Young's 1/6th Comma (12T)
Young I (1/12, 3/16 Comma) (IT & D 12.12, Po p.24 (DH))
Young II (1/6 Comma) (IT & L EMA p.19/TC 10, D 12.06, Po p.26 (DH))
Zarlino's (2/7 Comma) (IT)
Zarlino's (2/7th Comma) (12T & B 026 (DH))
Zazal (or Zulzul) (12T)
Hexachordal 12-tone scale in 22-tET (Sc)
12 out of 22-tET, Pythagorean, TL 4-4-2000 (Sc)
Herman Miller's Galticeran scale (Sc)
12 out of 31-tET, meantone Eb-G# (Sc)
12 out of 43-tET (1/5 comma meantone) (Sc)
12 out of 46-tET, diaschismatic (Sc)
12 out of 50-tET, meantone Eb-G# (Sc)
12 out of 55-tET (1/6 comma meantone) (Sc)
Mix of 7-tET and 5-tET shifted 120 cents (Sc)
12 out of 91-tET (1/7 comma meantone) (Sc)
Aaron - 64/63 729/686 Fokker block. TL 5-4-2004 (Sc)
Aaron 2 - 64/63 6561/6272 Fokker block 5,5,4,4. TL 6-4-2004 (Sc)
Ross Abell's French Baroque Meantone 1 (a'=520Hz) (Sc)
Ross Abell's French Baroque Meantone 2 (a'=520Hz) (Sc)
Ross Abell's French Baroque Meantone 3 (a'=520Hz) (Sc)
Ross Abell's French Baroque Meantone 4 (a'=520Hz) (Sc)
Ross Abell's French Baroque Meantone 5 (a'=520Hz) (Sc)
Ross Abell's French Baroque Meantone 6 (a'=520Hz) (Sc)
Ross Abell's French Baroque Meantone 7 (a'=520Hz) (Sc)
Ross Abell's French Baroque Meantone 8 (a'=520Hz) (Sc)
Ross Abell's French Baroque Meantone 9 (a'=520Hz) (Sc)
Agricola's Monochord, Rudimenta musices (1539) (Sc)
Agricola's Pythagorean-type monochord, Musica instrumentalis deudsch (1545) (Sc)
Terry Riley's Harp of New Albion Scale (Sc)
d'Alembert (source unknown) (Sc)
Jean-Le Rond d'Alembert's modified meantone (1752) (Sc)
Archytas/Ptolemy Hybrid 1 (Sc)
Archytas/Ptolemy Hybrid 2 (Sc)
Multiple Archytas (Sc)
Archytas Septimal (Sc)
Ariel 1 (Sc)
Ariel 2 (Sc)
Ariel's 12-tone JI Scale (Sc)
First 13 terms of arithmetic series, octave reduced (Sc)
Aron-Neidhardt equal-beating well-temperament (Sc)
Artusi's #2 (1/6 comma meantone with mean semitones) (Sc)
Artusi's #3 (Sc)
Artusi's 1603 clavichord tuning (1/4 comma with mean semitones) (Sc)
Awraamoff Septimal Just (1920) (Sc)
12-tET approximation with minimal order 17 beats (Sc)
Well-temperament for Bach, from Jacob Breetvelt's Tuner (Sc)
Bulgarian bagpipe tuning (Sc)
Paul Bailey's equal beating well temperament (Sc)
Paul Bailey's modern well temperament (Sc)
Adriano Banchieri - L'Organo suonarino (1605) (Sc)
Barca (Sc)
Barca A (Sc)
John Barnes' temperament (1979) made after analysis of Wohltemperierte Klavier (Sc)
Jacob Barton, tetratetradic scale on 6:7:9:11 (Sc)
Quasi-equal temperament by the Becket and Co. plan (1840) (Sc)
1/6 P. comma mod. mean of Freytag organ in Bellingwolde. Ortgies (2002) (Sc)
Original tuning of the Freytag organ in Bellingwolde (Sc)
Anton Bemetzrieder temperament 2 (1808) - Vallotti in F# (Sc)
Bendeler I temperament (c.1690), three 1/3 P. comma tempered fifths (Sc)
Bendeler II temperament (c.1690), three 1/3 P. comma tempered fifths (Sc)
Bendeler III temperament (c.1690), four 1/4P tempered fifths (Sc)
J. Ph. Bendeler well temperament (Sc)
Irregular temperament of Fr.J. Bermudo (1555) (Sc)
Bermudo's vihuela temperament, 3 1/6 P., 1 1/2 P. comma (Sc)
Bethisy temperament ordinaire, see Pierre-Yves Asselin: Musique et temperament (Sc)
Jan van Biezen 2, also Siracusa (early 17th cent.), modified 1/4 comma MT (Sc)
Jan van Biezen 3 (2004) (Sc)
Jan van Biezen modified meantone (1974) (Sc)
Big Gulp (Sc)
Kurt Bigler, JI organ tuning, TL 28-3-2004 (Sc)
Hole around [0, 1/2, 1/2, 1/2] (Sc)
Octoid tempering of bihexany, 600-equal (Sc)
Organ well temperament of Otto Bernhard Billeter (Sc)
Bobrova Cheerful 12 WT based on *19 EDL (Sc)
Ferdinand Bossard's Modified meantone (1743/44), organ in Klosterkirche Muri (Sc)
Monsieur Boulliau's irregular temp. (1373), reported by Mersenne in 1636 (Sc)
Circulating temperament with simple beat ratios: 4 3/2 4 3/2 2 2 177/176 4 3/2 2 3/2 2 (Sc)
Graham Breed's 1/4 P temperament, TL 10-06-99 (Sc)
Graham Breed's 1/5 P temperament, TL 10-06-99 (Sc)
Graham Breed's other 1/4 P temperament, TL 10-06-99 (Sc)
Bill Bremmer's Shining Brow (1998) (Sc)
Broadwood's Usual (Ellis tuner number 2), Victorian (1885) (Sc)
Broadwood's Best (Ellis tuner number 4), Victorian (1885) (Sc)
Ignaz Bruder organ temperament (1829) according to P. Vier (Sc)
Warren Burt, 3/2+5/3+8/5+etc. "Recurrent Sequences", (2002) (Sc)
choose pitch of a'
440.00 Hz (Stuttgart/ISO)
388.00 Hz (French Chamber Pitch - 4 Hz)
389.00 Hz (French Chamber Pitch - 3 Hz)
390.00 Hz (French Chamber Pitch - 2 Hz)
391.00 Hz (French Chamber Pitch - 1 Hz)
392.00 Hz (French Chamber Pitch)
393.00 Hz (French Chamber Pitch + 1 Hz)
394.00 Hz (French Chamber Pitch + 2 Hz)
395.00 Hz (range of Tief Kammerton - 1685-1750)
396.00 Hz (range of Tief Kammerton - 1685-1750)
397.00 Hz (range of Tief Kammerton - 1685-1750)
398.00 Hz (range of Tief Kammerton - 1685-1750)
399.00 Hz (range of Tief Kammerton - 1685-1750)
400.00 Hz (range of Tief Kammerton - 1685-1750)
401.00 Hz (range of Tief Kammerton - 1685-1750)
403.00 Hz (range of Tief Kammerton - 1685-1750)
403.00 Hz (range of Tief Kammerton - 1685-1750)
404.00 Hz (Paris Opera A 1699)
409.00 Hz (Taskin's tuning fork - 1783)
410.00 Hz ('Baroque Pitch' - 5 Hz)
411.00 Hz ('Baroque Pitch' - 4 Hz)
412.00 Hz ('Baroque Pitch' - 3 Hz)
413.00 Hz ('Baroque Pitch' - 2 Hz)
414.00 Hz ('Baroque Pitch' - 1 Hz)
415.00 Hz ('Baroque Pitch')
416.00 Hz ('Baroque Pitch' + 1 Hz)
417.00 Hz ('Baroque Pitch' + 2 Hz)
418.00 Hz (Kammerton - 1685-1750)
419.00 Hz ('Baroque Pitch' + 4 Hz)
420.00 Hz ('Baroque Pitch' + 5 Hz)
422.50 Hz (Handel's tuning fork 1751)
425.00 Hz (Zapf-Bach Cammerton)
430.54 Hz (a' in ET when c'=256 Hz)
432.00 Hz (Pythagorean maj. 6th above c'=256Hz)
432.00 Hz (Belgian - prop. 1876)
434.00 Hz (Diapason Normal - 2 Hz)
434.00 Hz (Diapason Normal - 1 Hz)
434.91 Hz (Normal - 1920)
435.00 Hz (Diapason Normal - 1859)
436.00 Hz (Stuttgart/ISO - 4 Hz)
437.00 Hz (Stuttgart/ISO - 3 Hz)
438.00 Hz (Stuttgart/ISO - 2 Hz)
438.95 Hz (New Philharmonic)
439.00 Hz (Stuttgart/ISO - 1 Hz)
440.00 Hz (Stuttgart/ISO)
440.02 Hz (Stuttgart/ISO - 15° C)
441.00 Hz (Stuttgart/ISO + 1 Hz)
442.00 Hz (Stuttgart/ISO + 2 Hz)
443.00 Hz (Stuttgart/ISO + 3 Hz)
444.00 Hz (Society of Arts - 1860)
445.68 Hz (Soc. of Arts - Griesbach's fork)
447.11 Hz (Royal Philharmonic Society - 1845)
451.00 Hz (Belgian Army proposal - 1879)
451.90 Hz (British Army Regulations - 1878)
452.00 Hz (Pitch - 1885 'Inventions' Exhibition)
452.50 Hz (Philharmonic Pitch - 1846-1854)
454.08 Hz (Old Philharmonic Pitch - 1874)
455.00 Hz (Kneller Hall Military pitch - 1870s)
456.00 Hz (Viennese 'High Pitch' - 1859)
456.10 Hz (French Pianoforte Manufacturers - 1857)
457.20 Hz (Steinway (USA) - 1879)
460.00 Hz (Old Austrian Military Pitch - 1880)
470.00 Hz (Cornett-Thon - 1685-1750)
486.00 Hz (St. Stephanskirche, Tangermünde)
505.60 Hz (Mersenne's Church Pitch - 1636)
520.00 Hz (specified for Abell's temperaments)
567.60 Hz (Mersenne's Chamber Pitch - 1636)
570.70 Hz (Kammerton - 1619)
570.70 Hz (North German Church Pitch - 1619)