"Jon Murphy" <[EMAIL PROTECTED]> schrieb: > The simplistic solution is to look to the family of C major (and I have an > advantage as a lever harpist as as I am fixed in a diatonic scale once I set > the levers for the key signature - unless I flip during the piece). The > relative minor of C is A (as you well know) - and the V chord is an E triad > on the "white keys", making it a minor third.
doesn't work that way with baroque music, Jon. > As to the Caccini piece, why do you assume that the key is G minor when it > has the one flat signature of F major? It doesn't have *the one flat signature of F major*. That would be 19th century musical theory on *pure part-writing*. One flat, in 16th and early 17th centuries, was to indicate transposed 1st or 2nd tones, i. e. (to speak in modern terms) melodic lines based on G instead of D. > Is that because of the "minor" sound > of the piece? If you feel that the tonic is G then that would probably make > it Dorian mode, a minor sounding mode (the tonic being the II of the basic > major (Ionian)). I come back to the diatonic C scale. The seven modes can be > harmonized with no "black keys", as long as the composer didn't intend them. > (And I'm leaving out the several minors). I haven't heard much in Phrygian, > Lydian or Lochrian - but the Doran and Mixolydian are common modes with a > minor sound. (The Aolian being the "relative minor", and it sometimes varied > at the VII note). that is, as I said, 19th or, rather, 20th century musical theory which cannot at all be applied to 17th century continuo issues. -- Best, Mathias Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/ Germany, T/F +49 - 421 - 165 49 97, Fax +49 1805 060 334 480 67, E-Mail: [EMAIL PROTECTED], [EMAIL PROTECTED], [EMAIL PROTECTED]
