Re: [Finale] non-standard key signatures

[Patrick Sheehan]

There's only one answer:
Without question, use a key signature, no matter how heavily-sharped or
flatted.  
If players don't learn to APPLY a key signature, then the purpose of a key
signature is out the window.
Practice your scales.

Patrick J. M. Sheehan
Music Director, Instructor: Woodlawn Arts Academy

patricksheehanmu...@gmail.com
-Original Message-
From: John Howell [mailto:john.how...@vt.edu] 
Sent: Monday, August 08, 2011 7:32 PM
To: finale@shsu.edu
Subject: Re: [Finale] non-standard key signatures

At 8:18 PM -0400 8/8/11, Christopher Smith wrote:
On Mon Aug 8, at MondayAug 8 7:51 PM, Steve Parker wrote:


  On 8 Aug 2011, at 23:21, Klaus Smedegaard Bjerre wrote:

  One scale inherent in the first 13 partials 
of brasses is the overtone scale, also known 
as the Lydian dominant scale.

  The 11th harmonic is actually about midway 
between the perfect fourth and the augmented 
fourth.
  George Russell's Lydian Chromatic Concept sort of claims otherwise
but...

It's marginally closer to the #4 than to the P4. 
It's not anywhere near what we call in tune 
these days, but it's enough to be interpreted by 
our ears as the #4.

Actually, on the (brass) instruments that had to 
play the natural overtone series, that overtone 
had to be lipped either down to the 11th or up to 
the sharp 11th.  And since it had to be, it was. 
Or else they played it out of tune.  Easier on 
the hand horn than on the natural trumpet, of 
course.

John


-- 
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
School of Performing Arts  Cinema
College of Liberal Arts  Human Sciences
290 College Ave., Blacksburg, Virginia 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:john.how...@vt.edu)
http://www.music.vt.edu/faculty/howell/howell.html

Machen Sie es, wie Sie wollen, machen Sie es nur schön.
(Do it as you like, just make it beautiful!)  --Johannes Brahms




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Re: [Finale] non-standard key signatures

[Steve Parker]

On 9 Aug 2011, at 21:21, Christopher Smith wrote:

 I'm not saying YOU don't hear it the way you do, I'm just saying there is 
 flexibility when you get far away from the usual 12-tone system that can 
 account for variances in identification

Also my own background is non-standard as I have a lot to do with extended-JI 
and temperaments such as 19 equal.
I hear the 11/8 as a different interval to either the fourth or the augmented 
fourth.

On trumpet it is easy to lip either way.. as I said though for screaming there 
is some pleasure in tuning these according to the harmonic series.

Steve P.
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