the DeMorgan

[A440A@AOL.COM]

 Paul writes:
>By the way, Ed, thinking a bit more about the de Morgan temperament for
>Chopin, I'm not sure I want those clean intervals in the high key
>signatures.  

   Hmm,  only one way to find out!  I really liked the effect, but listening 
to it both ways is the way each of us reaches our conclusions.   In tonality, 
how much is enough is pretty subjective.  On this issue, I side with the 
Aristoxeneans,  who favored  "if it sounds good, it is good",  as opposed to 
the Pythagoreans belief that the formula was the answer, and the listener 
should like the results.  (That is a gross simplification, I know.)
     The whole DeMorgan idea is off-the-wall, I suggested it as a very 
focussed, novelty investigation.  I have a customer, a songwriter, that plays 
mostly on the black keys, and this person is one of only two that use the 
DeMorgan.  The other is a Chopin-only pianist, who now feels like Chopin 
finally makes sense. OK,  I'm glad to be there!   
Regards, and thanks for the compliment on the class.  
Ed Foote