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From: | Urs Liska |
Subject: | Re: F-flat Key Signature |
Date: | Wed, 19 Sep 2012 17:10:19 +0200 |
User-agent: | Mozilla/5.0 (X11; Linux i686; rv:15.0) Gecko/20120827 Thunderbird/15.0 |
Am 19.09.2012 16:21, schrieb David Nalesnik:
Well, I think one could always argue that one writes f flat because it _is_ F flat (e.g. a major third below A flat rather than a diminished fourth). But as you say, it often is quite impractical, at least to have as a general key signature.Hello, On Wed, Sep 19, 2012 at 8:50 AM, Vaughan McAlley <address@hidden> wrote:I appreciate the difference between sharps & flats more than many musicians, but even I would introduce an enharmonic change rather than use a key signature with a double-flat, if only to save time at rehearsal: “Where‘s the B flat?” I explain there’s a B double-flat, and the key is F flat major. “Why didn’t you write E major?” ...to which I wouldn’t have a good answer, and wouldn’t be able to explain to anyone even if I did :-)
Of course there are (not so few) examples of unusual keys in romantic literatur. And of course it makes a big difference to modulate to E or to F flat. But usually composers prefer legibility over harmonic connections (at least on keyboard instruments). But it also depends on the context. If I have a single F flat chord (or one single chord progression) in a A flat context I probably would be very surprised to read E there. But if the music generally modulates to that key for a longer period of at least a few measures I'd rather expect the enharmonic version.+1 Here's an example of a modulation from A-flat major to F-flat major, but mercifully Schumann has spelled the new key as E major. It's "Widmung," the first song at this link: http://petrucci.mus.auth.gr/imglnks/usimg/d/db/IMSLP51688-PMLP12732-RS120.pdf (Another example of this same key relationship with enharmonically spelled F-flat major would be #6 here: http://erato.uvt.nl/files/imglnks/usimg/6/68/IMSLP53594-PMLP02066-Schubert_Werke_Breitkopf_Serie_11_No_111_Op_94.pdf)
BTW it was also Schumann who stated that Chopin sometimes waited a few chord progressions too long before writing the enharmonic change.
Best, David _______________________________________________ lilypond-user mailing list address@hidden https://lists.gnu.org/mailman/listinfo/lilypond-user
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