In Extended 1/6 Syntonic Comma Meantone by Ross W. Duffin

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I have elsewhere explained why I believe that a flexible 1/6 syntonic comma meantone temperament was (and should be today) the standard tuning system used for ensemble music in the baroque era (see my Why I hate Vallotti (or is it Young?) which appeared inHistorical Performance Online from Early Music America, Vol. 1, No. 1 (2000)). What I mean by “flexible” is that ensemble players (and singers), unlike keyboard players who were usually stuck with 12 notes to the octave,

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