<html> At 06:25 AM 6/23/00 -0400, Ed Foote wrote: <blockquote type=cite cite> However,  there is a lot more harmonic resources in an unequal temperment, since you have a choice of third size, just select the proper key to use it.  Why else did composers use the various keys?  There had to be a reason to select the key of piece when writing it, what more compelling reason that to take advantage of the different character of the keys? (which doesn't exist in ET like it does in other temperaments).</blockquote> Ed, Let me say first that I am not against unequal temperaments at all, and that I am in complete agreement that there is value to tuning them and hearing music played in them.  I would like to comment, though, on the common misconception (repeatedly stated by proponents of unequal temperament tuning) that keys have no different colors when a piano is tuned in equal temperament.  This is not true at all - keys have very strong personalities and colors of their own, even in equal temperament or "floating temperament" orchestral and choral music. The source of these colors is our own musical training and experience, as music written in certain keys is fairly constently "bright and cheerful" while others tend to be more sweet, and another heroic or majestic. I read with interest the web site which talked about an informal test at a college in which pieces were played in the wrong keys and correct keys on an unequally tuned instrument, and music students could easily choose which key fit the music by color.  I was involved in a very similar test during my college music school days, and we also consistently chose the correct key, except that the piano in our test was tuned in equal temperament!  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. 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? The musical "personalities" of the keys carry over quite consistently in Orchestral music.  Could Beethoven have used any key but Eb for the Eroica symphony? No - the music was formed conceptually in his head, with the key signature being critical to the personality of the piece.  Although Beethoven was a pianist, he composed with specific instruments in mind, noting which would play a particular line even in his early sketches.  Likewise Mozart, who wrote out his scores fully as he composed, not orchestrating from a piano score. 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. Once again, in closing: Please do not misread me.  Although I was at first steadfastly against this "movement" because of the inexcusable written behavior of one particular proponent, I have tuned and enjoyed enough unequal temperaments now that I would not argue against their use in the right circumstances.  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. Don Mannino RPT </html>