This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment My point was that many HT's make an arbitrary choice about which keys = will have more "intensity" due to decreasing sonority as one moves = through the circle of fifths and away from the key of C. That choice = may not always be appropriate. Chopin's etude in Ab, the so called = Butterfly Etude, I don't think benefits from HT's that create more = dissonance, as it were, in that key. Neither would the Nocturne in Db. = That is not to say that the piece would be wholly unpleasant or that a = pianist couldn't give a satisfactory performance. But the arbitrariness = of which keys vary and how becomes evident in such a case. We could, = afterall, choose to have the key of F# with the most sonority and = increase the dissonance as we move toward the key of C. =20 Ed's point that I was commenting on was that modulation needed the = benefit of a change in key color to be interesting, and that modulation = away from the tonic benefited from a greater intensity offered by HT's. = My point was that it is only true if the piece starts in key with = "smoother" sonority. Another piece that comes to mind is Brahms Trio in = B. The added dissonance of HT in the opening of that piece belies the = intention of the composer, as I see it. That piece opens with a great = deal of tranquillity and develops from there. There are, I think, many = other examples where these types of temperaments would not be = appropriate. Yet this becomes a fairly subjective argument and we can't = exactly know the intention of the composer. But it is hard to get away = from the notion that if we use temperaments that create distinct = differences between keys, we are imposing our own values about the = composer's intention more than we would be in ET. =20 David Love ----- Original Message -----=20 From: Billbrpt@AOL.COM=20 To: pianotech@ptg.org=20 Sent: October 31, 2001 6:27 AM Subject: Temperament Arguments I would like for David Love to produce one *single* example of any = music from any period that has smooth and harmonious harmony in Ab = modulating to an intense and vibrant C Major. =20 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/5a/b6/ea/ac/attachment.htm ---------------------- multipart/alternative attachment--
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