John Howell wrote:
I really appreciate the comments on this question, and I am learning
from them, but I just realized something. Every one of us, even those
of us who know better, are assuming that 20th century bane, equal
temperament. In any other tuning or temperament, G# and Ab are NOT
the same frequencies, and sensitive musicians make those adjustments.
(Except keyboard players, poor babies!) Which makes proper MELODIC
enharmonic spellings even more important, but for more than just
mechanical reasons.
No sensitive musician plays in a vacuum, or constantly in equal
temperament. I mentioned horn as a frequent user of enharmonic
equivalents - one should very rarely write a B# for horn, yet if a good
horn player hears their written C sounding as the third of a chord, that
player will adjust accordingly. If the same player sees a written B#,
the player will be too busy cursing at the composer/arranger to be
playing the note sensitively.
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