Please show me the "evidence". David Love davidlovepianos@comcast.net <mailto:davidlovepianos@comcast.net> Seems to me you've had several items tossed out at you already. What evidence there is, is in the form of such things as were discussed and written at the time and handed down to us. And of that it seems quite clear that nearly all that was written fell into two catagories. On the one had there were those who espoused the colour of keys when tuned to non ET. There is a myriad of this stuff really. On the other hand, there were those who espoused the uniformnimnity of ET apparently for two reasons... the challenge of accomplishing it, and its tonal portability. The now at least 2 centuries of arguing the pros and cons of ET seem to always fall into those two basic camps. How could there ever be an argument in the first place unless there were proponents for non ET. And what possible reason could they have for being against ET unless it was because of the tonalities available by avoiding it ? And that being so... what should stimulate us to beleive that composers didnt give a hoot and were totally unaffected by both the tonalites and the disscussions at hand ? I'll leave all the music theory analysis to those of you who wish to delve into that world for evidences. For me it seems pretty clear cut. ET was /is a matter of convenience and one of those mountains to climb that we humans so love to ascend. HT's were full of key colours that not only could be exploited... but humans being what they are.. were exploited. After all... we use what is at hand. Just my view... Cheers RicB
This PTG archive page provided courtesy of Moy Piano Service, LLC