John Howell wrote:
At 10:48 PM -0400 8/16/06, Darcy James Argue wrote:
On 16 Aug 2006, at 9:14 PM, Christopher Smith wrote:
Even in a piece without a key signature, if you had a C#7 chord
resolving to F#m, and the melody outlined the C#7 chord, how could
you spell it except with an E#?
I really appreciate the comments on this question, and I am learning
from them, but I just realized something. Every one of us, even those
of us who know better, are assuming that 20th century bane, equal
temperament. In any other tuning or temperament, G# and Ab are NOT the
same frequencies, and sensitive musicians make those adjustments.
(Except keyboard players, poor babies!) Which makes proper MELODIC
enharmonic spellings even more important, but for more than just
mechanical reasons.
Geez, why does music have to be so complicated?!
John
Why? Because if it weren't, we music teachers would be out of work!
I've remarked before, and will repeat here, that we, each of us, needs
to individually analyze the situation and act accordingly.
For an ensemble or a work which will be performed by an ensemble capable
of other than equal temperament, the "real" pitch names need to be used,
regardless of ease of reading.
But if we're writing something for community band usage with minimal
rehearsal time available, there's no problem with using enharmonic names.
The fact that we can call them enharmonic equivalents presupposes equal
temperament. In any other temperament, there are no enharmonics in the
sense that most of us think of them.
--
David H. Bailey
[EMAIL PROTECTED]
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