Pythagorean temperament can still be heard in some parts of modern classical music from singers and from instruments with no fixed tuning such as the violin family. Where a performer has an unaccompanied passage based on scales, they will tend towards using Pythagorean intonation as that will make the scale sound best in tune, then reverting to other temperaments for other passages (just intonation for chordal or arpeggiated figures, and equal temperament when accompanied with piano or orchestra). This can be seen in the first bar of Bach's Sonata no.1 for unaccompanied violin, where the b-flat in the opening chord is played naturally in just intonation and sounds flatter than the subsequent b-flat which appears in a descending scale and is naturally Pythagorean. Such changes are never explicitly notated and are scarcely noticeable to the audience, just sounding 'in tune'.