13 Jul
2012
13 Jul
'12
11:41 a.m.
On 13/07/12 11:28, Fons Adriaensen wrote:
On Fri, Jul 13, 2012 at 11:05:02AM +0200, Funs Seelen
wrote:
This can be helpful to visualise it:
http://en.wikipedia.org/wiki/Major_scale#The_circle_of_fifths
Lorenzo
On Thu, Jul 12, 2012 at 7:21 PM, Rustom Mody
<rustompmody(a)gmail.com> wrote:
Writing B#, E#, Fb, Cb or using double accidentals is first of all
a matter of consistent notation. A normal major or minor scale should
have all of A..G (ignoring # and b) in it and not repeat one of them.
That way the character (and the position of a note on a staff)
corresponds one-to-one to the note's position in the scale.
For example the last three notes of F# Maj. are written as
D# E# F#
and not
D# F F# The pythagorean comma is (by definition??) the
gap between B# and C where
by B# means the 12th in a circle of perfect fifths starting at C.
I would say "a possible gap". It depends on the used temperament, in
this
case Pythagorean (perfect fifth: 3/2). For example mean tone temperament
doesn't care that much about fifths and uses 5/4 for major thirds.
...
Now if the actual frequencies of E# and F need to be different
depends on the temperament. If they need to, and the instrument
doesn't have a separate key for E#, that just means you can't
use the F# Maj. scale with the given temperament.
Ciao,