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->Doesn't the whole notion of selecting the "proper" temperament for a
->piece written in F# minor defeat one of the most important reasons for
->choosing unequal temperament in the first place, namely, to highlight
->the uniqueness of each tonal center by giving it a particular
->sonority?
 
I've recently been wondering whether the whole point of unequal
temperament was not to give each key its own absolute and indisputably
unique sonority, but rather to simply provide contrast in modulation.
In other words, as long as each key visited in the course of some series
of modulations sounded different, then that was good enough.  This must
seem controversial, and I can think of many exceptions, but the only
reason I'm mentioning this is that I am trying to reconcile this notion
with a statement I heard to the same effect, i.e. that musicians of old
playing in the more distant keys would have "doctored" them by
transposing the temperament, or some such thing...
 
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Borys Medicky   |   T H I S   S P A C E   F O R   R E N T
[log in to unmask] |              Call:  55-CHEAP
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 ~ POW 1.1  On Trial ~