tuning affecting syntax

> > OK . . . . but although in this case e minor and g#-minor may
>> sound
> > different, is there any evidence for a syntactical difference
>> between
> > them? I.e., leading-tones still behave the same way, etc. etc.
>
> The function of the mediant and supertonic chords are very different
> in major vs. minor, for example . . .
>
>
>

Yes, of course, but my question was. . . does a Mediant in e minor,
function differently from a mediant in g# minor?

It seem the answer would be no. . . .although, at the same time, I
imagine that if a piece is in a "sharp" key, modulations might tend to go
"flat" (i.e. towards the "center"), whereas in a "flat" key, modulations
would tend to go "sharp" (again, towards the "Center"). OBviously, it
would be fairly subtle. . . the laws of Tonic, Dominant and Nearby Keys
would still be in play . . .but you could probably make a case for it.

and it would definitely be a case of syntax deriving from tuning, as the
farther "out" keys are. . . the farther "out" they sound. thus certain
cyntactical harmonic moves are favored in one case, avoided in another.

> > > Yes, of course, but my question was. . . does a Mediant in e minor,
> > > function differently from a mediant in g# minor?

Yes. The part of my paper that explains all that is due for publication in May.

> Speaking of this stuff, are there any MIDI or mp3's anywhere of
>side-by-side comparisons of "chromatic" 19th-century music tuned to ET,
>vs. meantone, or some other "unequal" tuning?

Last week I tuned my parents' piano to one that handles all tonal music especially well, and spent a couple of days playing through the old piano books. 19th century music is delightful that way.

Brad Lehman