Re: Quicky about naming a chord

On 17 Mrz., 15:25, "David Webber" <d...@[EMAIL PROTECTED]
>
wrote:
> <vi...@[EMAIL PROTECTED]
> wrote in message
>
> news:b4375942-fcd3-41a3-a4a8-120bc5fbd8b4@[EMAIL PROTECTED]
> On 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
> For discussion/sup****t
seehttp://www.mozart.co.uk/mozartists/mailinglist.htm

Dave,
I wrote about system,where frequences for notes' roots and for notes'
partials are picked from the same chromatic scale. The perfect fifth
and chords are absent in such case and such accidentals as bb,##,x
have no sence. The absence of partials-natural harmonics has both
advantages and lacks. I wanted to know how are latter im****tant.

Best Regards

Yuri Vilenkin