Martin Shepherd: >> And ET is not "indispensable" for modulation - as I hoped I had made clear, >> it is just one of many temperaments which allow modulation to any key. It >> also has the unfortunate effect of making all keys sound the same, and >> therefore largely removes the point of modulating in the first place...
Roman Turovsky: > Why is it then that composers start modulating only when the temperament > becomes sufficiently equalized? To Martin: The point of modulating has little to do with the character of keys, but with the progression from one key and pitch level to another. If the keys all sound alike, it makes perfect sense to go from C minor to d minor to G major to C major in a movement, but it doesn't alter the sound much to start in b minor instead of c minor. To Roman: You assumed your conclusion. Composers modulated without ET.
