Re: Quicky about naming a chord

"Tom K." <tkorth1@[EMAIL PROTECTED]
> wrote in message 
news:9IednWELKt78FUPanZ2dnUVZ_rqlnZ2d@[EMAIL PROTECTED]
>
> "David Webber" <dave@[EMAIL PROTECTED]
> wrote in message 
> news:frlvi7$dk6$1$8300dec7@[EMAIL PROTECTED]
>>
>>
>> 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 :-)
>>
>
> Can't recall the piece, but Satie once wrote a 4 octave piano arpeggio 
> spelled Dx, Fx, B# (= a 1st inversion C) as a commentary on what he felt

> was Debussy's overly complicated notation.

Ah I see I'm in good company <g>  but if he is merely replacing a C
arpeggio 
by a B# arpeggio, the guy is clearly an amateur when it comes to "overly 
complicated notation"  :-)

But silly notation *does* happen sometimes.    I have got an Alto sax part

for a published arrangement of Mac the Knife which goes through a number
of 
keys.   In fact it reaches G# major which is written with a key signature 
which looks a little bit like C# with 7 thingies there - with the one on
the 
F-line being a double sharp.  I suppose it serves me right for having an 
instrument in Eb.  :-(

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