Hello, On Wed, Sep 19, 2012 at 8:50 AM, Vaughan McAlley <vaug...@mcalley.net.au> 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 :-) > +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) Best, David _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
