Path: utzoo!attcan!uunet!psivax!torkil
From: torkil@psivax.UUCP (Torkil Hammer)
Newsgroups: comp.music
Subject: Re: A Mathematical Theory of Music
Message-ID: <3453@psivax.UUCP>
Date: 12 Jul 90 16:04:30 GMT
References: <1268.268f84e0@gp.govt.nz> <25556@unix.cis.pitt.edu> <1269.26909383@gp.govt.nz> <1990Jul4.114930.29133@sbcs.sunysb.edu> <1278.2694ccd9@gp.govt.nz> <3022@osc.COM>
Organization: Pacesetter Systems Inc., Sylmar, CA
Lines: 18

In article <3022@osc.COM> jgk@osc.COM (Joe Keane) writes:

# Unfortunately, the result of equal temperament has been to pave over this
# theory.  If you ask a piano player what is the difference between G# and Ab,
# he will say there is none.  This ignores the fact that some organs had keys
# for each, or that modern electronic instruments can easily play them as
# different notes.  Also, if you ask people what are CX or Ebb (excuse my ASCII)
# you're likely to get blank looks.

In Just intonation, there is more than one G#, and there is also more than
one G, even when you fix a'' to 440 Hz.
But duplicate black keys are a lot better than single for playing harmonic,
and it does not have to be exactly Just to sound nice.

C## (alright CX) and Ebb are legitimate notes, and an educated musician
can tell you all about it.  A# is also legitimate, in modulated H minor.

Torkil Hammer