Quite agree.  Context does matter.

GJB
 

________________________________
 From: Robert Patterson <[email protected]>
To: finale <[email protected]> 
Sent: Thursday, December 12, 2013 10:10:02 AM
Subject: Re: [Finale] OT: Key sig for Lydian mode
  

No, with respect, I did not miss the point. I understood it completely. I
hope you understood mine. And further, I don't think it is at all confusing
to write the D# as accidentals. And further, context matters. A Beethoven
string quartet calls for an entirely different level of commitment from
players than a Christmas arrangement for a pickup gig.


On Thu, Dec 12, 2013 at 8:29 AM, GERALD BERG <[email protected]> wrote:

> 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 <[email protected]>
> To: finale <[email protected]>
> 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 <[email protected]> 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 <[email protected]>
> > To: [email protected]
> > 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
> >
> >
> >
> >
> > _______________________________________________
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> > [email protected]
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>
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