Bach and E.T. or W.T.

[A440A@AOL.COM]

 Don writes:
>> Try it yourself with an equal-tuned piano and Bach's
first prelude from book one of WTC.  It sounds wrong in C# or D or
Bb!  Have a musical friend listen with you without knowing which
keys you are using to back you up.

Greetings Don, 
   I have done a similar test,but with a twist. I tuned a recently strung 
piano exactly 1/2 step flat in ET, and then had a pianist play the C# 
prelude.  A listener immediately said we had tranposed it to D, but no, we 
were playing in C#!  I have interpreted this to indicate that key recognition 
in ET comes from pitch familiarity, and not from a changing set of 
relationships as one changes keys.   This is a familiar debate, and is 
difficult to get at any real resolution without a couple of pianos together.  
    I think the "color' of the various keys in ET is dependant on pitch 
recognition,  since behind the front part of the white keys, there are 88 
levers controlling pitches that are identically apart.  There is no 
difference in their relationships, is there? 
    
>>To your question Why did composers choose various keys for their
compositions ; I would ask you and other excellent technicians who
regularly tune unequal temperaments: 
How and why did composers choose keys for orchestral compositions?

     Hmm,  I am getting out of my area of study with orchestral stuff, but I 
believe that there are a lot of intonational considerations for what 
instruments will be playing what part. This was especially true in the pre-ET 
era before valved-trumpets and  the consistant bored instruments that were a 
product of the industrial age, (Maudleys lathe, in particular)
     In light of the fact that the separate keys had already attained 
somewhat accepted characters from antiquity, it is not unexpected that 
composers used keys in ways that resembled one another.  Why were so many 
references made to Emaj as a brilliant, heroic key?  It doesn't matter,  it 
was already known that way when Werckmeister proposed opening up a meantone 
tuning by spreading the wolf out.           The 1/6 and 1/7th C tunings that 
directly preceded the well tempered approach offered some variety of the 
thirds, so the equality of 1/4C had already been .compromised.  The "Doctrine 
of Affections" didn't directly influence the assignment of the characters, 
but the general trend of the times seems to have encouraged emotional 
attachments to everything.  (I have digressed and gotten away from what I 
know, Rita Steblin's book has the most complete coverage of the concepts I 
have seen.).  
 
<<If one feels that enhancing the key colors through unequal
temperaments is beneficial, then do so with enjoyment.  It is an
error to extrapolate that this is the only way to hear key colors,
though.>>

     Then I may have poisoned my ears! (:)}}  After being immersed in non-ET 
for a day or so, I listen to an ET version and something is missing.  So,  
since I can't define it,  I can only say that what is missing is what I am 
referring to as key color.  Adding the variation does something that nothing 
else can.  That's why I want to say that the only way to hear key color is 
with an unequal tuning.    This may be semantics, I know,  but what I am 
calling key color is something that doesn't exist in the ET.

 I only wish for those
proponents who are trying so hard to convince others to join this noble
endeavor to be careful of becoming more the salesman than the
advisor. >>

That is a point well taken.  The encouraged direction is from a 
mono-temperament capacity to a multi-temperament ability.  The market is very 
willing to embrace the change,  I have proof right here in front of me.  It 
is all a matter of how the subject is approached,  and yes, there is 
occasionally a moment for the snake-oil pitch, but the difference in the 
instrument's sound will do the real selling.  
    Thanks for the note,  and I'm glad to see another tech on the temperament 
orbit.  Now,  I am wondering which of the major piano manufacturers are going 
to be the first to use these tunings for their harmonic beauty, as well as 
sales???? 
Regards, 
Ed Foote