It's also only in equal temperament that the tonic of a mode doesn't assert
itself strongly. The idea (especially among jazzers..) that the modes are the
same pitches as major - only shifted - kind of creates the question in the
first place.
Steve P.
On 13 Dec 2013, at 04:10, Douglas Brown
Well, Douglas, you DID suggest that writing A Aeolian in three sharps and
putting naturals on three notes wasn't a good idea. Who was promoting THAT
idea? Nobody here was, which made me think you had misunderstood.
If there is one big problem that a forum like this has, is that the lack of
: [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
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
: [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
Quite agree. Context does matter.
GJB
From: Robert Patterson rob...@robertgpatterson.com
To: finale finale@shsu.edu
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 did not misunderstand the proposal, but that's okay. Composers have never
been truly universal in the ways they have tackled problems, and so to hear
that one would prefer A Lydian in four sharps shouldn't be a surprise. I don't
mean any disrespect toward those who choose the 3+1 approach;
If church musicians simply play what's in front of them and don't care, then
why not use four sharps? They aren't going to care where tonic is in the first
place. Key signatures were invented to make music easier to read. By using
four sharps, fewer accidentals are necessary.
Douglas Brown
Well, Douglas, you DID suggest that writing A Aeolian in three sharps and
putting naturals on three notes wasn't a good idea. Who was promoting THAT
idea? Nobody here was, which made me think you had misunderstood.
I completely agree that composers are not universal. My only contention was
.
GJBerg
From: Harold Owen hjo...@uoregon.edu
To: finale@shsu.edu
Sent: Tuesday, December 10, 2013 11:47:34 AM
Subject: Re: [Finale] OT: Key sig for Lydian mode
Dear folks,
I'm with Lon. What matters most is that performers get it right. Seeing
four sharps
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.
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
On Wed, Dec 11, 2013 at 8:55 PM, Douglas Brown
douglas.br...@wayland.wbu.edu wrote:
If your performers do a simple analysis of your piece and realize that it
is in A Lydian mode,
In my experience, most musicians on a church gig will not analyze anything.
They are just trying to survive a
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
Dear folks,
I'm with Lon. What matters most is that performers get it right. Seeing four
sharps used for A Lydian may be correct, but I think fewer mistakes will be
made if three sharps are used and D#s are indicated in the score. The
accidental calls attention to the modal nature of the
: Key sig for Lydian mode
Dear folks,
I'm with Lon. What matters most is that performers get it right. Seeing four
sharps used for A Lydian may be correct, but I think fewer mistakes will be
made if three sharps are used and D#s are indicated in the score. The
accidental calls attention
So I am curious what this list thinks. You are writing a piece in A lydian
mode. Do you use four sharps in the key sig or do you use three sharps and
show the raised fourth as a chromatic alteration throughout the piece?
I recently encountered this situation in some contemporary church music. I
The standard way is to use a major key signature for modes with a major third
in them, and minor key signatures for modes with a minor third. So A lydian
would use 3 sharps and have every D sharp manually altered with an accidental,
as you thought.
The only exceptions I've seen are things like
I don't like the use of modal key signatures. I feel that most of us are
conditioned to think in a particular key, in other words, A Major being three
sharps. So if you're hearing the key as A Major, but the key signature is four
sharps, you might miss the D#. I'd rather have it written in,
Given your situation I think that it will be best to use 3 sharps in the
key signature and use the D# as an accidental -- this makes it clear
that the A is the tonic and that the D# will be an alteration from what
the musicians might otherwise expect to hear/play/sing.
David H. Bailey
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