> 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.
Not much. Real modulation starts with Frecobaldi and Froberger, who were
very much in the pro-ET camp.
______________
Roman M. Turovsky
http://turovsky.org
http://polyhymnion.org
