![]() The third piano was louder and brighter sounding, it was lit up brighter and the camera was under the lid over the strings. Most striking is that they are played on different pianos, the camera angle and lighting is totaly different for each piano and being a single camera shot the microphone placement delivers the greatest difference. The difference between the first and last, in particular, is striking. Here's an excellent example of three - Young Well Temperament, Victorian Well Temperament (Broadwood), and modern 12-tone equal temperament: I'm not quite sure what "it's" refers to, but there is certainly a different between tuning temperaments. You won't hear a thing on any tempered instrument. ![]() I hate to say it but I often dumb down my musical explanations by using terms like Da, Da, Da, Dum to describe descending M3 interval (Beethoven's 5th) and dum, da dum, da dum to describe a shuffle. Rhythmic notations are equally tough to describe to rote musicians as well. ![]() ![]() I work with many rote (unschooled) musicians and the issues of en harmonic equivalents makes discussions of tonality difficult. Resolving in opposite directions and you can tell the difference between them by that function and their tonal relationship to their place in the scale. ![]() So in the context of a single note being repeated the Gb is an F# but in the context of scalar tones in the keys of G and Db the two notes serve vastly different functions. However in the Key of Db the Gb is a P4 and to fit into the V-I cadence it becomes the dominat 7th and resolves chromatically downward. In the key of G the F# is the M7 leading tone and one of the strongest indicators of a V-I cadence resolving chromatically upwards to the tonic. The function of a note and relationship with other notes (melody and harmony) and over all tonality is how we determine if it's a flat or sharp. ![]()
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