Re: Quicky about naming a chord

<vilen@[EMAIL PROTECTED]
> wrote in message 
news:b4375942-fcd3-41a3-a4a8-120bc5fbd8b4@[EMAIL PROTECTED]
 17 Mrz., 01:42, "David Webber" <d...@[EMAIL PROTECTED]
>
wrote:

> Those notes form an Eb7+ or D#7+ if more
> convenient. (The sort of music in which it would occur probably doesn't
> worry about enharmonics too much.)

> ...12-TET scale as notes' pitches
> then  there isn't any difference from enharmonic.
> It is interesting to know when it may be bad.

The frequency of the note pitch isn't everything.   If a piece in the key
of 
3-flats ended with the chords  A#7 Eb,  then you'd surely suspect that 
somebody had written down something rather silly????      In general there

are good reasons for writing one enharmonic rather than another, even in 
12tet.

The point I was making is that these reasons are *least* compelling for 
diminished sevenths and augmented triads, which are rather special
objects. 
The point about diminished and augmented chords (especially in 12tet) is 
that their identity is rather ambiguous.   And in as much as one might be 
stepping onto one of Cdim7 Ebdim7 F#dim7 or Adim7, one may just as well be

stepping off another one of them (or an enharmonic equivalent).  Same goes

for  C+ E+ G#+.     And in fact if someone tells you the notes which
belong 
to Cdim7, they're more likely to say CEbF#A than the "correct" answer C Eb

Gb Bbb.   This is, often as not, fine, but one doesn't do it for al kinds
of 
chord!

Put another way:  if 12tet meant that enharmonics were unim****tant in
other 
cases, you could happily write a Cmajor scale as

B# Ebb Dx  Gbb Fx   A  Cb  Dbb.

But if you do it, and argue it's ok because it's 12tet, I won't give much 
for your chances :-)

Dave
-- 
David Webber
Author of 'Mozart the Music Processor'
http://www.mozart.co.uk
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