Both of the instances where you stated with a big STOP SIGN sounded alright
to me. I’m a music producer, but I’m not really a musician. My knowledge
about musical notes and chords are pretty much non existent, but I still
believe that if something sounds good, it is perfectly fine to listen to.
Wether you like it or not, well that’s a preference.
Well, I think the point that the author of this video is making is that
major & minor thirds in 12-note Pythagorean tuning sound exciting and vivid
for *melodies* but not so wonderful on a violin timbre played as *vertical
intervals.* We must bear in mind, however, that Pythagorean tuning comes in
many forms: 5-note, 7-note, 17-note, 29-note, 41-note and 53-note
Pythagorean. The 53 note Pythagorean tuning in particular sounds
indistinguishable in a musical context from conventional 5-limit just
intonation (which has 5/4 just major thirds that sound much nicer on the
violin than the 81/64 maj 3rds of 12 note Pythagorean).
This is the best explanation of Just intonation I have yet seen. The
examples are perfectly played. People who cannot hear the striking
differences in the examples are simply acclimated to accepting dodgy
intonation due to a lifetime of hearing piano and guitar which are tuned
purposely a little out of tune (ie: Equal temperement). Being able to play
with perfect just intonation is one of the reasons why non-fretted
instruments can sound so glorious (when performed by a master). Thank you
Dr. Sassmannshaus for this great series.