But that misses the point. Transpose the work into C# minor and then right a section in A Lydian. The player has been use to seeing 4 sharps in the signature. It would make no sense (in this case) to change the signature to A and then write in D# accidentals. That would be confusing.
GJB ________________________________ From: Robert Patterson <rob...@robertgpatterson.com> To: finale <finale@shsu.edu> Sent: Thursday, December 12, 2013 8:18:19 AM Subject: Re: [Finale] OT: Key sig for Lydian mode And I believe what I said was that F Lydian is a special case because there are no sharps or flats in the key signature of A minor (C Major). It is functionally the same as "no key signature." I am perfectly fine with notating any church mode or key without a key signature. Indeed, as a horn player it is my obvious preference. On Wed, Dec 11, 2013 at 10:28 PM, GERALD BERG <gj.b...@rogers.com> wrote: > I did find a grit of sand! > > The whole story on Beethoven op132 is that the piece is in A minor -- > So technically it is F Lydian off of A minor. > So. As in the original question (E versus A) if the base key > were actually C# minor (like Beethoven example) -- in that case: The A > Lydian would have 4 sharps! > > GJB > > > ________________________________ > From: Christopher Smith <christopher.sm...@videotron.ca> > To: finale@shsu.edu > Sent: Wednesday, December 11, 2013 10:12:24 PM > Subject: Re: [Finale] OT: Key sig for Lydian mode > > > > On 11-Dec-13, at 11-Dec-13 9:55 PM, Douglas Brown wrote: > > > I am going to disagree with the list. > > > > If I have a piece of music in A Minor mode, I would use no sharps > > or flats, not 3 sharps and then lower every F, C, and G. If your > > performers do a simple analysis of your piece and realize that it > > is in A Lydian mode, then the four sharps are justified. Give them > > the theoretically correct key. I wouldn't count out the > > intelligence of your performers... they are musicians, after all. > > Douglas, with respect, I think you misunderstood the proposal. MINOR > modes (those with a minor third) would use a minor key signature. > MAJOR modes (those with a major third) would use a major key > signature. Only the notes that made the mode different from the > parallel major or minor would have to be altered, which never gives > more than one alteration in the Church modes, except for locrian, > which requires two (the flat 2 and flat 5.) > > In our tonal world, I think many musicians think of modes as altered > major or minor scales, rather than a major scale starting on a > different note. > > Christopher > > > > > _______________________________________________ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > _______________________________________________ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > > _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale