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            "slug": "equal-temperament",
            "title": "Equal Temperament: What It Costs and What It Buys",
            "dek": "Twelve equal semitones solve the problem pure intervals create. The cost is small in fifths, large in thirds, and paid by every fixed-pitch instrument.",
            "topic": "tuning",
            "topic_name": "Tuning & Temperament",
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            "excerpt": "A piano cannot retune between two chords, so its tuning has to work for every key in advance. Equal temperament is the arrangement that does that, and it earns the ability by making every fifth slightly narrow and every major third noticeably wide. The…"
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            "slug": "just-intonation",
            "title": "Just Intonation, Beating and Why Intervals Sound in Tune",
            "dek": "Pure intervals come from small whole-number ratios, and beating is what stops them sounding pure. What just intonation gives, and what it cannot fix.",
            "topic": "tuning",
            "topic_name": "Tuning & Temperament",
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            "excerpt": "“In tune” sounds like a matter of taste and is mostly a physical event. When two tones sound together and their frequencies stand in a simple whole-number ratio, their overtones land on top of one another and the combined sound holds still. When the ratio is…"
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            "title": "Meantone and Well Temperament: Why Keys Used to Sound Different",
            "dek": "Quarter-comma meantone, the wolf fifth and the well temperaments in between: what keyboard tuning did to each key before equal temperament settled the argument.",
            "topic": "tuning",
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            "excerpt": "A modern keyboard hides its compromise. Every key is equally in tune, which also means every key is equally out of tune, and a major third in C major is exactly the same size as a major third in F sharp major. Before the nineteenth century the compromise was…"
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