Question regarding E# -> Fb and B# -> Cb

['59]

In equal temperament E to F and B to C are separated by half steps, so the notes in the thread title don't really mean anything. But in an effort to understand the reasoning behind musical theory I'm researching different temperaments and it would appear that in certain temperaments this is not the case. All the books I'm reading explain this concept at way to high a level for me (not that the content is difficult, rather abstract from the ways I'm used to thinking) so I would be interested if any of you guys know any practical instances of two "identical" notes not being identical.

From what I understand, one example could be with a certain temperament a C-minor triad might be very dissonant at C-Eb-G, but if you were to adjust the minor 3rd to be tuned slightly differently and call it D#, it would sound nice within that context. But the issue with this is I can't think of any instruments where this is implemented. Like are there any keyboard like instruments where some of the keys are separated by semitones and some of them are separated by a few cents for tuning compensation? Seems like that would be a tough instrument to learn.

Or more related to my original question, would E->F be replaced with E->Fb->E#-> F ?

 

[Clint 55]

Pianos can be tuned in temperaments other than equal where some keys sound better than others. You're right though, other temperaments aren't very practical. Moveable pitch instruments like violin can play in different temperaments by adjusting their pitches slightly. Usually it's best just to settle on equal temperament though where all the half steps within an octave are divided proportionally equal.

Another demonstration on how the harmonic which is the precise interval differs from the fretted note which is adjusted for equal temperament. Then he plays tunes which are optimized for 1 key.

 

[PFDarkside]

Two things on this note.

I‘ve been following along with your music theory educational journey. The best path (IMO) is to learn simply with modern, western 12 tone equal temperament. In this temperament the pitch of B = the pitch of Cb. There is a whole lot to wrap your head around with “standard” music theory that I’d leave the temperament stuff for later. I love discussing and digging into it, but honestly the only part that ever leads to music for me is the slightly lowering of a major third as Clint notes above.

Secondly, because I know you are still interested in it, here’s a great video from Adam Neely that will shed a little light in a more accessible manner.