source file: mills2.txt Date: Fri, 4 Jul 1997 19:08:18 +0200 Subject: Re: Point of Well Temperaments From: mr88cet@texas.net (Gary Morrison) >> The entire point of well temperaments is that they are >> > about equally well in tune in all keys. >...I believe that the >development of sonata form in the classic period was directly related to >the inequality (but acceptability) of the different keys. Again noting that I said, "about equally well in tune" and not "identical sounding" in all keys, I'd say that that, and "inequality (but acceptability) of different keys" are two different ways of saying the same thing. The original premise of the question was that well temperaments get farther out of tune as you venture farther from C Major. Although well-temperaments are not my specialty, I'm not aware of many, if any, well-temperaments have that property. I seriously doubt if ol' JS would have written in F and F# in the same suite if he expected one to sound wildly more out of tune than the other! In contrast, meantone tunings clearly would not fit this bill. In a narrow band of key frames they sound exactly identical, and outside that band they sound far from "acceptable" as you put it, because of the wolf. Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Fri, 4 Jul 1997 21:46 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA05087; Fri, 4 Jul 1997 21:46:56 +0200 Date: Fri, 4 Jul 1997 21:46:56 +0200 Received: from ella.mills.edu by ns (smtpxd); id XA05103 Received: (qmail 9152 invoked from network); 4 Jul 1997 19:46:29 -0000 Received: from localhost (HELO ella.mills.edu) (127.0.0.1) by localhost with SMTP; 4 Jul 1997 19:46:29 -0000 Message-Id: <970704154423_40598154@emout02.mail.aol.com> Errors-To: madole@mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu