Kieren, On Tue, May 19, 2020 at 9:22 AM Kieren MacMillan <[email protected]> wrote: > > Hi David, > > > But minor-mode music is often a conglomeration of the "forms" of the > > minor scale which makes them of limited separate utility. Nothing is > > in "harmonic minor." Notating something in minor by J. S. Bach could > > be terrifying. > > Oh, I totally agree with "terrifying" (and, in my opinion, unhelpful). =) > I’m just pointing out that it’s not difficult to figure out how to make it > work for people who don’t mind living in terror. >
Possibly one could treat minor mode as the natural form with variable ^6 and ^7. Dispense with "natural," "melodic," and "harmonic." This would be more realistic. But...I don't see the need and I don't want to be the one to figure out an implementation :) My vote will always be on the side of notating by what something *is* and not what it appears because of accidents of key signature. What of the tonal music where the key is ambiguous/constantly shifting? And what of those spots in Chopin and Schubert in, say, F-flat major? "Well, then, don't use the sticky pitches!" In my opinion, the pitch entry should conceptually consistent whether you are notating something in A minor entirely devoid of accidentals or dodecaphonic music. DN
