In a message dated 6/10/00 7:38:35 AM Central Daylight Time, A440A@AOL.COM writes: << I have for some time been suggesting that Chopin's music might have a significantly different structure when played on the DeMorgan temperament. >> You can never be sure that what you have learned and believed over the years might suddenly become invalid or just another opinion. I have, for the last 15 years believed in the Cycle of 5ths concept: the 3rds would increase in speed according to the number of sharps or flats in the key signature. I have always held that premise to be inviolate. It provided the very reason why anyone would choose to write in or play in any particular key. As for the music of the late Romantics such as Chopin, Debussy, Ravel and others who often chose to write in Ab or Db, I have always believed that the intensity of those keys which is produced by any Well-Tempered or mild Meantone temperament was the reason to choose them. This had often been demonstrated by Professor Owen Jorgensen RPT during his lectures. A 10th or 17th in Ab or Db would have a rapid and vibrant beat which is described as a "singing tone". In contrast, Jorgensen would play the same pattern but transposed to the simple keys. The 10ths & 17ths would be slow and he would remark that it was inappropriate because it would have a "dead" sound. While I still believe in and adhere to this basic premise, recently here in Madison, the DeMorgan idea was also used. I just could not accept it as being correct so I never said a thing about it. A concert pianist was given two pianos upon which to perform his recital. He was not given any information about the tunings, just invited to use whichever one suited the music to be played the best. He played Chopin, Dvorak and Smetana. When playing fast, flighty and brilliant pieces, he chose the 1/7 Comma Meantone but when he played a slow, solemn piece, he chose the DeMorgan. I guess, at the very least, this would explain how so many people will accept Reverse Well as a substitute for ET. I know of two very highly respected technicians who virtually always tune a Reverse Well temperament. Yet, I also know that they have some very loyal customers who readily say that they prefer these two technicians tunings over any others available whether they be ET or typical HT tuners. Those musicians often play Romantic music or Jazz and thus they often use the remote keys and/or complex harmonies. Those musicians also describe the Reverse Well tunings (which are claimed to be and misidentified as ET) as "smoother". While I know that these temperaments are anything but "smooth" as a proper ET might be described, it seems that these musicians like the gentler nature of the chords they typically choose to play. I guess it all boils down to a matter of personal taste. It's nice to know that there is a legitimate precedent for a kind of temperament whose goals for tonality are exactly the opposite of the usual textures found in all other Cycle of 5ths based temperaments. So, from now on, if I find a customer who seems to like what I had previously considered to be simply incorrect, I won't find it as difficult to provide him or her with what suits personal taste best. I have heard Chopin played this way and it still sounds "dead" and out of focus, in a kind of reverse polarity to me and I suppose it would to most people but if there are some people who prefer it, then there is something available for them too. To each his own, <<Chacun à son goût>> (a line from the Strauss Operetta, Die Fledermaus and also a popular French expression). Bill Bremmer RPT Madison, Wisconsin
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