It's also only in equal temperament that the tonic of a mode doesn't assert itself strongly. The idea (especially among jazzers..) that the modes are the same pitches as major - only shifted - kind of creates the question in the first place.
Steve P. > On 13 Dec 2013, at 04:10, Douglas Brown <douglas.br...@wayland.wbu.edu> wrote: > > If church musicians simply play what's in front of them and don't care, then > why not use four sharps? They aren't going to care where tonic is in the > first place. Key signatures were invented to make music easier to read. By > using four sharps, fewer accidentals are necessary. > > Douglas Brown > Adjunct Professor, School of Music > Wayland Baptist University > > > > > In my experience, most musicians on a church gig will not analyze anything. > They are just trying to survive a once through sight-reading rehearsal, > perform the show, get paid, and move on to the next gig. (Especially this > time of year.) It's not a question of intelligence: it's a question of > priorities. If you want the right notes in A lydian the first time and > every time, I think the proposed 3 sharps plus altered 4 is a safer bet. > _______________________________________________ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > > > > _______________________________________________ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale > _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
