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From: | Urs Liska |
Subject: | Re: Gis major key signature; Lily's key signature algorithm |
Date: | Thu, 8 Feb 2018 01:00:19 +0100 |
User-agent: | Mozilla/5.0 (X11; Linux x86_64; rv:52.0) Gecko/20100101 Thunderbird/52.5.2 |
Am 07.02.2018 um 23:04 schrieb Thomas Morley:
Hi Urs, 2018-02-07 22:18 GMT+01:00 Urs Liska <address@hidden>:I'd always argue that depending on the style (actually most European music from the 18th until far into the 20th century) E major is worlds apart from Fes major (and with "worlds" I really mean heaven/earth, life/death, dream/reality, whatever you want). My favourite example is in Schubert's song Schwangesang D 744 (http://imslp.org/wiki/Schwanengesang,_D.744_(Schubert,_Franz) ). The song is in a flat major, then turns to the darker mood of the variant a flat minor and its parallel c flat major (both six flats)sure about _six_ flats?
Oops, no, of course we're already at seven. With fes minor reaching into the uncharted territory of eleven (!) flats.
and then reaches an absolute anticlimax on the word "auflösend" (meaning: life is dissolving) on the minor subdominant: a fes minor seventh chord (=> <fes' asas' ces'' eses''> in LilyPond language)! There's no way this could ever make sense in e minor.Always nice as reference for extreme notation issues: http://homes.soic.indiana.edu/donbyrd/CMNExtremes.htm here: http://homes.soic.indiana.edu/donbyrd/CMNExtremesBody.htm#pitch Though, I couldn't find an image for the mentioned pieces.
Maybe this is because it isn't as much a case of extreme notation but rather of extreme composition.
Cheers, Harm
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