E#/Fb????

[zbalz]

The equal temperment of circle of fifths explains why we no longer have a B#/Cb but what about E# and Fb? Anyone know why that isn't around in equal temperment?

Thanks

-zbalz

P.S. I got around to reading that "Origin Of Music" by Bob Fink excerpt that SD links on lesson 5 tuning. Very interesting stuff if someones into history of music and why things are the way they are (in Finks opinion of course). I'm probably going to buy the essay.

[StoneDragon]

I'm curious how you have determined that the circle of 5ths explains away the B#/Cb.

[zbalz]

It was discussed by the author Bob Fink you linked to on your tuning page in Lesson 5. its at http://www.webster.sk.ca/greenwich/NATBASIS.HTM
under the category Temperament (which is in red) and under the question "Why about the key of Cb or B#).

And I don't think its the circle of 5ths that causes this right? Its caused by equal temperament. Due to the change, the two notes become one? Anyway take a look if you want. He even mentions that is the reason E instead of Fb is used but only explains the B#/Cb part.
(Is it because the E# and Fb no longer appear as separate notes like B# and Cb?)

-zbalz

PS. I think I found another subject I have an interest in http://www.zentao.com/ubb/smilies/smile.gif

[StoneDragon]

Ok.... I see where you are coming from now.

To the best of my understanding, the "natural" interval between the 3-4 and 7-8 is smaller than the rest of the scale. When you start tweaking the pitches to close the circle of 5ths you end up with what we now call a half-step between E-F and B-C. There isn't any room (or need) for E#/Fb or B#/Cb.

If you look at it in a straight line... these keys would be way out on the "other" end. It was probably just easier to close the circle before ever getting to that point.