Though you are correct about the minute difference between the E-G# third in the two temperaments, it is not only the character of the tonic that matters. A piece in the key of E major, as you know, does not only play the tonic chord. In the key of E, the dominant (B major) and its dominant (F# major, V of V) are generously used. In Broadwood's the B-D# third is 17.6 cents , in Young's it is 19.6 cents. The F#-A# third in Broadwood's is also 17.6 cents, but in Young's it increases to 21.5 cents. Those thirds contribute substantially to the character of E major. David Love ----- Original Message ----- From: <A440A@AOL.COM> To: <pianotech@ptg.org> Sent: December 11, 2001 11:15 AM Subject: Re: Temperament, A pianist responds > David writes: > <<So let's go to the second movement in E major. This key in WT is not a > > terribly tranquil sounding key. Rather, it is fairly active even in the > > mild WT's such as Broadwood's. In the Young temperament, it is a very > > active, read dissonant, sounding key. << > > Hmm, Now I am confused about what tunings you're basing your responses > on. There is only .2 cents difference difference between this third in the > Young(17.8cents) vs. Broadwood's "best" tuning(17.6). This difference is > totally insignificant. Is it possible that your perception of "dissonance" > is being affected by something other than the width of the intervals? > Wondering, > Ed Foote >
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