Enharmonic equivalence is not to be confused with octave equivalence, nor are enharmonic intervals to be confused with compound intervals.
2.
The importance of spelling stems from the historical practice of differentiating the frequency ratios of enharmonic intervals such as G G and G A.
3.
In other words, if two notes have the same accidentals, they are enharmonic . " " Enharmonic intervals " are intervals with the same sound that are spelled differently & [ resulting ], of course, from enharmonic tones ."
4.
The chanson " Seigneur Dieu ta piti?" of 1558 made use of justly tuned enharmonic intervals which, if played on a keyboard instrument, would require nineteen keys per octave; Costeley specifies that tuning such an instrument in equal " thirds of a tone " would be necessary to perform his chanson.
5.
The piece uses, " chains of just tuned ( untempered ) chromatic or enharmonic intervals . . . which sound'out of tune .'" [ note the difference between'keyboard distance'in this tuning and pitch or interval distance : for example a fifteenth, two keys with fifteen notes between them, on a normally tuned keyboard is a double octave, while in this tuning a fifteenth is slightly sharper than that]
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