Re: Quicky about naming a chord

Since it was a reply to Dave, expect it from him.

Tom K. wrote:
> "Hans Aberg" <haberg_20080313@[EMAIL PROTECTED]
> wrote in message 
> news:frot2g$55j$1@[EMAIL PROTECTED]
>> Are you aware of that this is a reply to David?
> 
> Of course, Hans - but it is a question specifically addressed for you
and 
> your post was quoted.
> Is there a reason you haven't answered it?
> 
> Tom K.
> 
>> Tom K. wrote:
>>> "David Webber" <dave@[EMAIL PROTECTED]
> wrote in message 
>>> news:frokos$q8a$2$8302bc10@[EMAIL PROTECTED]
>>>> "Hans Aberg" <haberg_20080313@[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. 
> 
>