Temperament, A pianist responds

[David Love]

Though you are correct about the minute difference between the E-G# third in
the two temperaments, it is not only the character of the tonic that
matters.  A piece in the key of E major, as you know, does not only play the
tonic chord.  In the key of E, the dominant (B major) and its dominant (F#
major, V of V) are generously used.  In Broadwood's the B-D# third is 17.6
cents , in Young's it is 19.6 cents.  The F#-A# third in Broadwood's is also
17.6 cents, but in Young's it increases to 21.5 cents.  Those thirds
contribute substantially to the character of E major.

David Love



----- Original Message -----
From: <A440A@AOL.COM>
To: <pianotech@ptg.org>
Sent: December 11, 2001 11:15 AM
Subject: Re: Temperament, A pianist responds


> David writes:
> <<So let's go to the second movement in E major.  This key in WT is not a
>
> terribly tranquil sounding key.  Rather, it is fairly active even in the
>
> mild WT's such as Broadwood's.  In the Young temperament, it is a very
>
> active, read dissonant, sounding key. <<
>
>       Hmm,  Now I am confused about what tunings you're basing your
responses
> on.   There is only .2 cents difference difference between this third in
the
> Young(17.8cents) vs. Broadwood's "best" tuning(17.6). This difference is
> totally insignificant.  Is it possible that  your perception of
"dissonance"
> is being affected by something other than the width of the intervals?
> Wondering,
> Ed Foote
>