KdF incomplete Counterpoint 14

Dear members,

It's well known that unfinished Fugue in "Die Kunst der Fuga"
has a palindromic theme. D-A-G-F-G-A-D; melody in Gematria:
4-1-7-6-7-1-4

> which corresponds to the structure of fifths in Bach's system
> "wohltemperirt"
4 welltempered fifths, c-g-d-a-e,
1 Tempering fifth B-f#
7 perfect fifths.

6:

6 is the first perfect number, made up by its divisor-parts: 1+2+3.

Kind regards.
Herbert Anton Kellner

http://ha.kellner.bei.t-online.de

P. S.:
Soon I shall pause in this group because I have to
perform urgent priority tasks elsewhere.

More important than the tuning is the different compositional process it
implies for Bach - to use key numbers to set up a motive. I couldn't put it
past him, but I think it more significant than any audible distinction of
tuning of Kellner from Werckmeister III.

Best, Johnny Reinhard

Dear Johnny,

You are absolutely right. Compared to the impact of
"wohltemperirt" and Bach's structuring of his compositions
taking advantage of the available set of numbers that
generates "wohltemperirt", the audible difference is
marginal.

Kind regards,

Herbert Anton

Afmmjr@aol.com schrieb:
> More important than the tuning is the different compositional process it
> implies for Bach - to use key numbers to set up a motive. I couldn't put it
> past him, but I think it more significant than any audible distinction of
> tuning of Kellner from Werckmeister III.
>
> Best, Johnny Reinhard
>