That violin stock footage really did find a lot of use, though it should be noted that violinists are generally discouraged from using equal temperament.
Again it is a very nice video, I learned a lot, it was very informative, in a way complex but still very transpartent \☺/. I unfortunetaly can't help myself and I have to nitpick, at 5:36 12*(12th root of 2) isn't two, you probably meant (12th root of 2)^12 . Sorry for being so nitpicky, but I couldn't help myself but to nitpick :( But otherwise, a great video.
great educational material :-) but I missed at least a hint towards pythagorean and mean-tone-temperaments, although lots of hip-musicians have to accept the truth that 12-edo was theoretically developed in the late 16th century (and lots of modern classical musicians should learn that for instance Kirnberger 3 was still in use as late as Beethoven and Schubert which gives Ab major just that bit more funky flavor)
4:36 Is that supposed to sound in tune? I know it's probably just my ears being used to equal temperament, but that absolutely doesn't sound in tune to me
I think it's definitely off. Just intonation is very delicate. Since the lick resolves on an A he probably should've built some sort of just intonated A minor scale but it sounds like he just used C major.
Your math equations are way off: 1:40 Wavelength is inversely proportional to frequency, which means wavelength is proportional to the RECIPROCAL of frequency (1/f) and not f itself. 5:35: 12 times the 12th root of 2 gives you 12.713. What you mean to get back to to is to multiply twelve 12th roots of 2 together, or raise the 12th roof of 2 to the twelfth power, to get back to 2.
to say that 12 tone equal temperament has been the standard since 1584 is stretch. Even though it was known theoretically, it still was not practical to implement for another few centuries. Definitely harpsichord music was not written with equal temperament in mind.
First of all I love your channel. You are however giving a much to oversimplified story of equal temperament. I would recommend you read How equal temperament ruined harmony by Ross Duffin. Keep up the good work!
Bartok and Boulez are very dubious examples of microtonal composers. Boulez only did one work exploring quarter-tones (Le Visage nuptial) and I'm not even sure that Bartok worked on microtonality. You could have mentioned, more appropriately, composers such as Alois Hába, Ivan Wyschnegradsky and Giacinto Scelsi.
Yeah, I don't particularly like when these kind of video explain "just intonation" as one single tunning system where there are infinite many kinds of them(5-limit 7-limit etc) . Another problem is that this video mixes pythagorean tunning and just intonation when those are two different things, I would recommend this other video about temperaments instead (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-TgwaiEKnMTQ.html ).
