source file: mills2.txt Date: Fri, 14 Mar 1997 11:11:18 -0800 Subject: RE: Dominant 7th 4-5-6-7-8 ? (Paul E) From: alves@Orion.AC.HMC.Edu (Bill Alves) >But Andrew, the augmented sixth chord IS represented almost exactly by >4:5:6:7 in meantone tuning. Do you therefore think meantone is not a good >tuning for music with augmented sixth chords? Remember that it was the >tuning in place when they arose. Well, it's true that it arose in the 16th century, though all the examples I've seen from that time are in choral music. Much later the ambiguity of the german augmented sixth was a favorite device of the romantics to effect a modulation to a foreign key. For example: C: V7B: Gr+6 I64 V I Such modulations are not very compatible with 1/4-comma meantone, as you're soon in wolf territory. Mozart used such modulations, though usually briefly. Composers like Chopin and Schubert are the ones really known for them. Bill ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^ Bill Alves email: alves@hmc.edu ^ ^ Harvey Mudd College URL: http://www2.hmc.edu/~alves/ ^ ^ 301 E. Twelfth St. (909)607-4170 (office) ^ ^ Claremont CA 91711 USA (909)621-8360 (fax) ^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Fri, 14 Mar 1997 20:19 +0100 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA17932; Fri, 14 Mar 1997 20:19:49 +0100 Received: from ella.mills.edu by ns (smtpxd); id XA17930 Received: from by ella.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) id LAA26542; Fri, 14 Mar 1997 11:17:57 -0800 Date: Fri, 14 Mar 1997 11:17:57 -0800 Message-Id: Errors-To: madole@mills.edu Reply-To: tuning@ella.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@ella.mills.edu