Theory & Impro Why E sharp and not F??? - enharmonic?

[Pete Thomas]

Placing a natural followed by a flat (♮♭) will turn F# into an E, for one bar or until another accidental is encountered, whichever happens first.

I can’t think of any circumstance in which you would do that rather than write either E.

 

[Ivan]

I can’t think of any circumstance in which you would do that rather than write either E.

Absinthe

Or any mind altering spirits might do it

 

[Pete Thomas]

I can’t think of any circumstance in which you would do that rather than write either E.

Well there is a case if you wanted to write a G^O and be enharmonically correct. Personally I don’t with diminished chords but I do see the point in being correct.

 

[Pete Thomas]

On the other hand cancelling an F# to make an a finished accidental F♮♭ I think most people would just write F♭ if they wanted to be enharmonically correct. I might argue there is no need for the ♮.

 

[Pete Effamy]

Placing a natural followed by a flat (♮♭) will turn F# into an E, for one bar or until another accidental is encountered, whichever happens first.

Any player would be confused by this and think that it’s a typo - either a natural or a flat. In a rehearsal they would stop and seek clarification. For any one note, there can only be one accidental, for which there is adequate provision:

bb
b
Natural
#
##

 

[Tenor Viol]

So if you believe that the toneholes in a woodwind instrument aren't positioned to give each note a frequency that's higher than the one immediately below, by a factor of the twelfth root of two; tell me, what is the "base key" of a saxophone? And if you believe that they don't use the twelfth root of two to locate the tone holes, on what evidence do you believe this? And how do you explain Theobald Boehm who wrote very explicitly that he used the twelfth root of two, which has been confirmed by Dayton C Miller's measurements of dozens of Boehm's flutes?

I said "They do not tune" meaning the player adjusts the sound to be 'in tune'.

Yes, the basic spacing of holes on a woodwind instrument are nowadays based around ET. ET is an awful system, designed for keyboard instruments, producing badly out of tune major thirds. Unfortunately, there is no simple alternative to ET because an instrument in 'just' intonation would only be 'in tune' for a small number of keys.

ET is a compromise, which is "OK" a lot of the time for most people. But it's a compromise and at times results in unpleasant sounds.

 

[Pete Effamy]

I said "They do not tune" meaning the player adjusts the sound to be 'in tune'.

Yes, the basic spacing of holes on a woodwind instrument are nowadays based around ET. ET is an awful system, designed for keyboard instruments, producing badly out of tune major thirds. Unfortunately, there is no simple alternative to ET because an instrument in 'just' intonation would only be 'in tune' for a small number of keys.

ET is a compromise, which is "OK" a lot of the time for most people. But it's a compromise and at times results in unpleasant sounds.

I don’t believe that the vast majority hear “unpleasant sounds” from Equal Temperament tuning. Those that do were either born with an affliction to it (unlikely) or became interested in other tunings and have effectively taught themselves to be uncomfortable with it.

Do people find the recordings of Bill Evan’s and Martha Argerich to be unpleasant or unlistenable?

 

[Pete Thomas]

Those that do were either born with an affliction to it (unlikely) or became interested in other tunings and have effectively taught themselves to be uncomfortable with it.

I think it may be more subconscious. Not that they've actually taught themselves, but that they have got u8sed to using just intonation and so have become subconsciousy more attuned to it.

I can hear just being better sounding but only when I directlly compare. But I may be an odd case because I hear a lot of technically out of tune notes as OK or even better.

Seems like a good time to drag out the photo of my wife's hapsichord with split keys for example D#/E♭