Timeline for What are the best criteria for naming a key?
Current License: CC BY-SA 3.0
9 events
| when toggle format | what | by | license | comment | |
|---|---|---|---|---|---|
| Apr 30, 2018 at 3:06 | answer | added | Alphonso Balvenie | timeline score: 3 | |
| Apr 29, 2018 at 10:21 | history | tweeted | twitter.com/StackMusic/status/990536475589644288 | ||
| Apr 29, 2018 at 10:05 | comment | added | Tim | @AlphonsoBalvenie - thanks for your input. I think if a piece is modal, the best way to write it is to use the parent key sig., as in D Mixolydian, it'd be just F#. We do that for minors, don't we? It's as daft as writing in Dm, but putting 2# at the beginning! | |
| Apr 29, 2018 at 0:02 | answer | added | skinny peacock | timeline score: 0 | |
| Apr 28, 2018 at 19:17 | answer | added | jdjazz | timeline score: 4 | |
| Apr 28, 2018 at 18:49 | answer | added | Нет войне | timeline score: 2 | |
| Apr 28, 2018 at 18:48 | comment | added | Alphonso Balvenie | I have noticed that music publishers commonly use the tonic (ending note) for reference and put the key in either Major or Minor to that tonic, even if the piece is using a different scale. So in your chord example, if the piece centered around D (mixolydian), the key signature would have 2 sharps, but every C note in the piece would have a natural sign in front of it. I'm not sure why they do this other than classically trained musicians that aren't aware of other scales other than maj/min would be confused? Style of music and origin should be considered, i.e. blues, Hungarian etc. | |
| Apr 28, 2018 at 18:33 | comment | added | Нет войне | possibly obliquely relevant: music.stackexchange.com/questions/930/… | |
| Apr 28, 2018 at 17:15 | history | asked | Tim | CC BY-SA 3.0 |