2008/3/24, Kieren MacMillan <[EMAIL PROTECTED]>: > Hi Francisco (et al), > > This chord is exactly as common as the \key aeses \minor (14 flats) > > signature. > Incorrect: the G-flat diminished 7th chord could easily appear in a > descending sequence (e.g., resolving to an F sixth chord). > > I don't have an engraved example off the top of my head -- and I > certainly don't have the time or interest to find one for the list -- > but I would be FLABBERGASTED if there aren't NUMEROUS examples of > this exact chord in published music written since 1850. In > particular, Romantic and post-Romantic solo piano music, and 20th > Century French pipe organ music, are likely gold-mines of G-flat > diminished 7th chords. > > To claim that an F-double-flat is only as common as a 14-flat key > signature is simply untrue.
OK, OK, now here comes my thought: IF a diminished seventh chord has its origin in a minor ninth dominant chord --common in minor keys--, without its base (the dominant itself), THEN a feses is the minor ninth of the dominant eses, whose corresponding tonic is aeses and therefore our key is aeses minor. Note the IF-THEN that gives aeses as result of a 'logical' or 'natural' explicit key signature where could happily live this note. What a great OT! -- Francisco Vila. Badajoz (Spain) http://www.paconet.org _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
