[Dixielandjazz] What a difference a key makes

[Edgerton, Paul A]

Dan Augustine wrote:
>>
     I was under the impression that J. S. Bach wrote for the
"well-tempered" clavier (or a keyboard instrument), and well-tempering
was an attempt to make all the keys more in tune with each other and
less discordant in the keys with a lot of flats or sharps.  It was
definitely NOT the same as equal-temperament, in which the octave is
divided into twelve exactly equal semitones, so that (theoretically, at
least) all keys are equally in (or slightly out of) tune.
     Is this not true?
<<

  
Actually, Bach's "well-tempered" tuning WAS equal temperament -- or as
close to it as they could get.  The whole point was that now all keys
were possible, if not "perfect," and Bach commemorated this by composing
pieces in every key.

Of course, even-temperament took awhile to catch on, as did that other
innovation, the pianoforte.  Through most of the 18th century there were
many different tunings in use: just intonation, meantone tuning, and
several others, so that as one traveled around Europe, one might be
called upon to perform on instruments having completely different
tunings.  It's no wonder Bach championed the new standard.

-- Paul Edgerton, who studied music history in Texas.