Jack Campin wrote: >....... > See "Delven Side", p.15 of the Complete Repository volume 1. It's in > E dorian, described as "In E<natural> with <flat> 3d." >..........
> =================== <http://www.purr.demon.co.uk/jack/> What is the keynote? E natural with flatted 3rd is in the description, not the specification, since the notation doesn't change if we drop that. However, since the keynote isn't obvious that would be valuable supplementary information, if it is correct, but maybe it isn't. Let's see. In the table following the 2nd row is the % of total time spent on the note indicated above it. We put a 1 in the 3rd row when note is in the tune, otherwise 0. For keynote E we have: E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D D#/Eb 23.44 0 6.77 7.81 0 8.85 0 17.19 0 1.56 34.38 0 (1) 0 1 1 0 1 0 1 0 1 1 0 0 1 2 4 8 16 32 64 128 256 512 1024 = mult. last 2 rows together, column by column, and add Mode#=0 +2 +4 +0 +16 +0 +64 +0 +256 +512 +0 = 854 854 = Dorian mode, which fits with the 2 sharps on the key signature, which is what Jack said, but the tune spends 1.47 times longer on D than on E, so let's rearrange to start with D and see what we get. [Phil Taylor's % time ordering scheme fits beautifully with my mode numbering system. Once you have his pattern starting with the most common note you don't have to search for a match, you can just calculate the mode number for any mode that you can score in 12TET, no matter how many different notes you have. [If the mode number you get doesn't match one in the file MODETABL.TXT on my website, I would greatly appreciate a copy of the tune, so I can add another 'real' mode to my data base.] D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B C C#/Db 34.38 0 23.44 0 6.77 7.81 0 8.85 0 17.19 0 1.56 (1) 0 1 0 1 1 0 1 0 1 0 1 0 1 2 4 8 16 32 64 128 256 512 1024 Mode#= 0 + 2 +0 +8 +16 +0 +64 +0 +256 +0 +1024 = 1370 1370 is Ionian/major mode, So Gow's tune looks more like it might be D major instead of E Dorian. What is it? [You don't need the mode# for simple cases. The semitone sequence here is 2212221 = Ionian/major] Actually the C#s are unstressed short notes that shouldn't be counted, so the tune if D should be called a hexatonic Lydian/Ionian. See the file MODETABL.TXT on my website for the rest of the mode numbers, well, 179 of them, at any rate (with names, if they have one, else a description of sorts). E.g., pi1 = 330, pi2 = 338, Lydian = 1386, etc. [There are 181 in the file, but there's 2 that I haven't yet found in 'nature', Locrian being one of them.] PS: This 12TET representation of mode numbers gives the same mode number code for cv7 and gv7. One scheme of just intonation makes them slightly different, but in another they are the same. When there are differences between the two schemes, on a very few (or one) notes, it will always be a factor of 81/80 = 1.25%. Column 4 of my file COMBCODE.TXT preserves the original scoring mode for the tunes I've stressed note coded, so you're not stuck with my 12TET mode number identifications if you don't like them. X:1 T:Delvin Side. a Strathspey S:Gow's 'Complete Repository, book 1 N:in E natural with flat 3rd [mixolyd w/ flat 3rd is dor, 2#] Q:1/8=120 L:1/8 M:C K:EDor %[or D major] E>e d/B/A/B/ dE B2{A/B/}|d>E d/B/A/B/ d<DA>F|\ E>e d/B/A/B/ dEE3/2g/|(g/f/).e/.d/ (f/e/).d/.c/ dD "tr"A(G/F/):|\ d>EB>E d>E B/A/G/F/|d>EB>E dD B/A/G/F/|d>EB>E dEEg|\ (g/f/).e/.d/ (f/e/).d/c/ d>DA>F|d>EB>E d<E B/A/G/F/|\ d>EB>E d>D B/A/G/F/|d>EB>E dEEg|\ .f/.a/.g/.f/ .e/.g/.f/.e/ dD B/A/G/F/|] There should be a slur around B2{A/B/} at the end of the first measure, but my ABC2WIN displays it across the bar to the following d[3/2], so I left it out. When looking for the 'final' of a tune you have to ignore any flare of short-time notes at the very end. If we ignore that B/A/G/F/ at the end here, we get that (d)D as the keynote. -- Roots of Folk: Old British Isles popular and folk songs, tunes, broadside ballads at my website <A href="http://www.erols.com/olsonw";> Click </a> To subscribe/unsubscribe, point your browser to: http://www.tullochgorm.com/lists.html
