Re: Quicky about naming a chord

David Webber wrote:

>> 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.
>>
>> If the scale is not 12-ET, so there is no enharmonic equivalence, then 
>> the inversions of an diminished 7th are no longer transpositions of 
>> each other.
> 
> True, but irrelevant, as we were talking about 12tet.

If one should enforce 12-ET, then it might be im****tant to to throw in 
some enharmonics excluding other intonations. The best way would be to 
develop specific 12-ET notation, where enharmonic exchange cannot be 
detected.

> And diminished 7ths became *far* more interesting after the ubiquitous 
> use of 12tet.    

Quite on the contrary. For example, Beethoven used them a lot, and he 
writes them diatonically, not 12-ET.

   Hans Aberg