Wols Lists <antli...@youngman.org.uk> writes: > On 30/04/18 14:50, Hans Åberg wrote: >> >>> On 29 Apr 2018, at 22:17, Jacques Menu Muzhic <imj-muz...@bluewin.ch> wrote: >>> >>> OK, now everything is clear, it’s precisely on jazz chords I’m working. >> >> FYI, I recall the Mehegan books on jazz improvisation applying >> enharmonic equivalents freely. The Blatter books on instrumentation >> suggests applying them to simplify for harpists, which will save >> time and money. But orchestral instruments depart from Pythagorean >> tuning, not E12, so they are not equivalent, differing by a comma of >> about 20 cents. >> > Which actually matters how? > > Apart from the violins and the trombone, most instruments just play the > pitch to which they are tuned, so Bbb and A are the same fingering, and > the same note.
Not using the correct pitch "spellings" means that the chord stackings lose their "functional" character. You stop being able to see at a glance whether there is a seventh or a sixth, for example. That's bad on an instrument like the piano since you lose the connection between the expectation of a particular sound and its execution, and it's worse for an instrument like the accordion where particular chords are produced by pressing particular buttons, like Cmaj7 as c (major) and em. If you cannot see the function of a chord, figuring out the button combinations is close to impossible. -- David Kastrup _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
