Am 19.09.2012 16:21, schrieb David Nalesnik:
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 :-)
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.
+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)
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.
BTW it was also Schumann who stated that Chopin sometimes waited a few
chord progressions too long before writing the enharmonic change.
Best,
David
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