Re: Quicky about naming a chord

On Mar 18, 11:09 am, "Tom K." <tkor...@[EMAIL PROTECTED]
> wrote:
> "David Webber" <d...@[EMAIL PROTECTED]
> wrote in message
>
> news:frokos$q8a$2$8302bc10@[EMAIL PROTECTED]
>
>
>
> > "Hans Aberg" <haberg_20080...@[EMAIL PROTECTED]
> wrote in message
> >news:frojaf$1v1$1@[EMAIL PROTECTED]
>
> >>> 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.
>
> > That does not stand up as a logical contradiction of my statement. 
All it
> > implies is that you believe nothing more interesting than Beethoven
has
> > happened in the last couple of centuries.
>
> Hans, can you point out how Beethoven (or Mozart or Bach) exploited
their
> symmetry and multifunctional possibilities - i.e. as a modulatory pivot
> chord?  This seems to me to illustrate Dave's point and really doesn't
occur
> with any frequency much before 1860.
>
> Tom K.

I also asked Hams what he meant by Beethoven's harmonic practices were
shaped non 12-TET in an earlier thread. That question seemed to go
answered and ended that thread. Maybe that is related to your question
Tom, and we both can get an answer here.
LJS