 Indeed, the idea of unfixed pitch locations that cover certain ranges, the limits of which may be defined by fixed points, is a notion that was popular until the modern fixation upon fixed pitch systems, as is indicated by Baroque theoretical systems of pitch and intonation.Another way of stating this, however perhaps less accurate, is that instead of using discrete ratios to place intervals, he used continuously variable quantities.The postulation that this resulted in the structuring of his tetrachords and the resulting scales having 'other' qualities of consonance is one that can only be accounted for by the recourse to often repeated inconsistencies amongst his interpreters and modern confirmation bias in favour of simplified twelve tone theories.