A440A@AOL.COM wrote: > > Richard writes: > << but it does seem to me that David is talking about the Key of E major > here, which he states has more colour in the Young compared > to the Broadwood<< > > David writes: > >>Those thirds contribute substantially to the character of E major. > > I agree that the cumulative amount of tempering is greater in the Young, > but the amounts don't necessarily make a huge difference in the way the key > of E sounds in a Broadwood vs a Young. > In comparing these two temperaments, the tonic thirds are identical, the > V is only 4 cents wider in the Young and the IV is only 2 cents difference. > I don't find those differences enough to warrant calling one "fairly active" > and the other "dissonant". Yes the Young provides more contrast, but I don't > hear it as dissonant. > Ok Ed... I buy this explanation. Just wanted to make sure we was all on the same track. Thanks muchly. I read on with interest. > now, for some slight assistance from the established literature of today, I > went to the new Groves today, and would like to just toss the following onto > the fire: (I'd hate for somebody to think I just made all this up!) NNNAHHHH... would You do That ???? hehe. > > According to Schindler, in 1860: > "Beethoven in his last years maintained a keen interest in expressive > characteristics of different keys and suggested they were most apparent in > piano music. << > > Lindley writes: > "It is unclear to what extent Beethoven may have attributed the difference to > acoustical factors, but his piano music does in fact benefit from an 18th > century unequal temperament" ( Lindley 1997 chap. 5) > > Regards, > Ed I for one have no problem with this line of thinking, actually I have a problem understanding how on earth things could be otherwise really. Music composition is neccessarilly heavily influenced by the sounds available to the composer. How could things be otherwise ? -- Richard Brekne RPT, N.P.T.F. Bergen, Norway mailto:rbrekne@broadpark.no
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