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<DIV style="FONT: 10pt arial">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. </DIV>
<DIV style="FONT: 10pt arial"> </DIV>
<DIV style="FONT: 10pt arial">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. </DIV>
<DIV style="FONT: 10pt arial"> </DIV>
<DIV style="FONT: 10pt arial">David Love</DIV>
<DIV style="FONT: 10pt arial"> </DIV>
<DIV style="FONT: 10pt arial"> </DIV>
<DIV style="FONT: 10pt arial"> </DIV>
<DIV style="FONT: 10pt arial"> </DIV>
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=Billbrpt@AOL.COM =
href="mailto:Billbrpt@AOL.COM">Billbrpt@AOL.COM</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> October 31, 2001 6:27 =
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Temperament =
Arguments</DIV>
<DIV><BR></DIV><FONT face=arial,helvetica><FONT size=2><BR>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. </FONT></FONT></BLOCKQUOTE></BODY></HTML>