Sonate Moonlight music sheet confusion

[jancivil]

- to elucidate the meaning of my assertion, there, in the objection to "supposed to have Ab Db E", which will be Fb not E, which indicates the key of Db minor.
Db minor's key signature would be all 7 flats plus a B double flat. So there was nobody figuring out a system for a key that far south as it were; confer Werckmeister, as chances anyone is writing in such a pointless key is about nil.

We should proceed from knowledge of facts historically. Temperament was all about bringing the more far-flung keys into congruence with the way harmony worked from white keys. There was probably no machine calculating 12th root of 2 at this juncture. The first known maths solution to equal temperament: "Zhu obtained his result mathematically by dividing the length of string and pipe successively by 12√2 ≈ 1.059463, and for pipe length by 24√2, such that after twelve divisions (an octave) the length was divided by a factor of 2... Needham, Ling & Robinson 1962, p. 221.

Purportedly, something close enough for classical music should be obtainable at the time of early Romantic period or easly 19th c., and numerous people were clamoring for it. But my source for the 17th-century Sabbatini method of splitting the octave first into three tempered major thirds assertion. is a book called Unequal Temperaments. Which appears as though it would cost me money to see.
I did find a reaction to a review of the book at Academia.edu. which does seem to throw that whole assertion into question in a myriad of aspects. Another academic feud there...

Coincidentally:
UNEQUAL TEMPERAMENT

In German, Bach called it Das Wohltemperierte Klavier — the Well-Tempered Clavier, not the Equal-Tempered Clavier.

Let’s look a bit deeper into the meaning of that title: Well-tempered Clavier…

Bach didn’t use equal temperament. Neither did Mozart nor Beethoven or any of their contemporaries. They used unequal temperaments — also known as, you guessed it, Well-tempered. In the Well-Tempered Clavier, Bach celebrated unequal tempered tuning, not today’s equal tempered tuning.

So what’s the difference?

The unequal tuning system that I use for my fortepiano was developed by Johann Philipp Kirnberger. It was widely used in the Baroque era and persisted through the era of Haydn, Mozart, Beethoven, and beyond.

This unequal temperament is built around 7 acoustically-pure fifths and 5 fifths that are a bit narrow – giving you more acoustically pure intervals than the equal-tempered system. This means that you can modulate to play in any key, but the interval relationships are not exactly the same in every key.

https://www.danieladammaltz.com/tcp/his ... ound-world

then Mr Maltz shows the Schubart poetical business.
and Fortepianos tuned in unequal temperaments transport you to the vast world of colors and key characteristics in which Mozart and Beethoven lived, a world which is completely lost when using today’s equal tempered system.


So, I'm actually pretty confident that my general reasoning behind 'there was no key of Db minor' - even on quite a tangent, but it would seem to be pretty clear there was no 8 flats signature at any rate - at the time of Moonlight is sound. I'm pretty effin' certain the key was chosen for effect, as well (and it's demonstrably not the effect of a modern piano).