> On 27 May 2016, at 09:59, Thomas Morley <thomasmorle...@gmail.com> wrote: > > 2016-05-27 8:16 GMT+02:00 Michael Hendry <hendry.mich...@gmail.com>: >> >>> On 27 May 2016, at 00:53, Wols Lists <antli...@youngman.org.uk> wrote: >>> >>> On 26/05/16 10:43, Olivier Biot wrote: >>>> >>>> >>>> On Thursday, 26 May 2016, Michael Hendry <hendry.mich...@gmail.com >>>> <mailto:hendry.mich...@gmail.com>> wrote: >>>> >>>> I seem to have struck an interesting chord, here! >>>> >>>> >>>> Definitely! >>>> >>>> >>>> Another phenomenon about which I have doubts involves people who >>>> claim that when they hear music in “sharp” keys (e.g. G, D, A, E) >>>> their experience is of brightness, while the flat keys make for a >>>> more sombre sound. I’ve even heard in a radio interview that this >>>> applies to F# and Gb (the one bright, the other dull). >>>> >>>> >>>> I experience the same from a string player's perspective. But in my >>>> humble opinion it is a combination of 2 factors. One depends on >>>> harmonics induced in the instrument played, the other is a more >>>> subjective element: often 'sharper' keys tend to play music at a higher >>>> pitch too, which results to brightening of the music played. Maybe >>>> because a lot of written music wanders around the natural scale of the >>>> clef, which goes up 1 full tone per 2 extra sharps (circle of fifths). >>> >>> Don't forget, G# and Fb are NOT the same note. >> >> This is where my lack of formal musical education shows me up - I’m a >> self-taught amateur guitarist. F# and Gb look and sound the same on the >> guitar (and on the piano), but it seems that this is because these >> instruments have been constructed to sound equally bad in all keys. > > Well, if you play first string, second fret without any context, > nobody can say whether it's a F# or Gb. > Though, try out to play the attached. > For me F# and Gb feels completely different, _because of the context_. > I'd always name them as written, i.e. F# in the first Gb in the second > example.
In that case, shouldn't you have alternative names for C natural, which is common to both G and Db major scales, but has different functions in your examples? (I realise I’m getting dangerously close to how-many-angels-can-dance-on-the-head-of-a-pin? territory in this thread deviant!) Michael > > In general, it's not only the actual tune of an instrument, but our > brain _interprets_ what it gets, depending on the context, which > includes the (musical) culture we're grown up/educated in. > >> Other instruments are constructed and tuned so as to sound good in certain >> keys and not so good in others, so it’s feasible that an orchestra could >> sound better playing in sharp keys. >> >> Other mysteries (to me!) may also be explained in a similar way: >> >> Why aren’t trumpets and clarinets made a bit shorter, so that they don’t >> have to have transposed parts? >> >> Why is the G string on my guitar the one I most commonly check because >> although it sounds perfectly in tune in the context of a G major chord, it >> can sound out of tune in other contexts? > > Well, if you tuned a perfect octave: G on 6th string, open 3rd string. > It will be nice for g-major, but not in say e-major. > Hence, I'm used to take slightly different tunings depending on the > key of the piece I'm going to play. Ofcourse one has to say the range > of keys used for classical guitar-music is very limited. des-major is > a _very_ rare exception. > > Additional the 3rd string of the guitar is problematic because of the > used material in relation to its thickness. > There are a lot of attempts to deal with it by the guitar-constructors. > > Cheers, > Harm > <atest-31.png> _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
