IDM Mailing Archive

quoted 5 lines Also, concerning the enharmonic spelling statement...no, there is a big

>Also, concerning the enharmonic spelling statement...no, there is a big >difference between C# and Db. C# major has six sharps and Db major has >five flats. You must not play much written music on an instrument, because >if you ask any player if there is a difference between those two keys, the >>answer will be yes. I'm not even going to get into the equal tempermenttuning system as a compromise allowing for chromaticism.

but the difference is conceptual, a matter of assigning the same sounds different names. Certainly on equal temperment instruments there's no difference between the sound of the two scales. The reason why you'd choose to write something in "C#" instead of "Dd" often has to do with making clear the harmonic structure of the music. (Like if the music started in F# and modulated to the dominant, you'd make it more apparent by calling it C#.) am I wrong? If you were playing with a string ensemble, would your tuning really be different if a piece were notated in C# rather than Dd? just got the Kompakt compilation "Total 2". Has some nice things on it. actually has a bunch of vocals on the album, somewhat beaten into submission with sampling, but not what I would have expected from Kompact. I'm oddly attracted to the cheeseball technopop-ish "Amanda" by M. Mayer (whoever that is). k --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

quoted 5 lines Also, concerning the enharmonic spelling statement...no, there is a big

>>Also, concerning the enharmonic spelling statement...no, there is a big >>difference between C# and Db. C# major has six sharps and Db major has >>five flats. You must not play much written music on an instrument, because >>if you ask any player if there is a difference between those two keys, the >>answer will be yes. I'm not even going to get into the equal

tempermenttuning system as a >>compromise allowing for chromaticism. I'm not even going to get into the equal tempermenttuning system as a compromise allowing for chromaticism. <--- please tell me what the f@$# this is?

quoted 1 line but the difference is conceptual, a matter of assigning the same sounds

>but the difference is conceptual, a matter of assigning the same sounds

different names.

quoted 1 line Certainly on equal temperment instruments there's no difference between

> Certainly on equal temperment instruments there's no difference between

the sound of the >two scales. \>The reason why you'd choose to write something in "C#" instead of "Dd" often has to do

quoted 1 line with making clear the harmonic structure of the music. (Like if the music

>with making clear the harmonic structure of the music. (Like if the music

started in F# and >modulated to the dominant, you'd make it more apparent by calling it C#.) right, you stay in key during modulation - er use the note from the scale for the dominant

quoted 1 line am I wrong? If you were playing with a string ensemble, would your tuning

>am I wrong? If you were playing with a string ensemble, would your tuning

really be

quoted 1 line different if a piece were notated in C# rather than Dd?

>different if a piece were notated in C# rather than Dd?

NOPE! but some classical composers did make a difference in between the two, that was part of my whole argument.

quoted 1 line just got the Kompakt compilation "Total 2". Has some nice things on it.

>just got the Kompakt compilation "Total 2". Has some nice things on it.

actually has a

quoted 1 line bunch of vocals on the album, somewhat beaten into submission with

>bunch of vocals on the album, somewhat beaten into submission with

sampling, but not what I >would have expected from Kompact. I'm oddly attracted to the cheeseball technopop-ish >"Amanda" by M. Mayer (whoever that is). --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

Not all music uses equal-tempered scales. In fact, even AE has used alternative tunings in some of their tracks (e.g. arch carrier on LP5). To someone immersed in equal temperament as most of us are, such scales sound vaguely out-of-tune, yet there can be an odd sense of harmonious- ness missing from equal-tempered tunings (at least in keys compatible with the tuning). Equal temperament is the ONLY tuning system where enharmonic keys are equivalent. It facilitates, but isn't necessary for, chromaticism. (Check a good music dictionary for definitions of the latter word, and other such terms.) Back to your regularly scheduled program... -Ed --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org