Now that I've calmed down a bit I'll have another go.
I think you are underestimating the cultural sophistication of English
farmworkers by a VERY large margin.
I'm not sure why saying that traditional singers could get all the
information they needed from the music without having to read
| John Chambers wrote -
| Nobody has suggested replacing K:tonic+mode with K:signature.
|
| Unfortunately Bruce Olson did say -
| That's one more reason why I'd like
| to see the key-mode in K: eliminated; we can cut out ambiguity in
| notation and put in into interpretation where it
Phil Taylor wrote -
I think you guys are actually arguing from the same side of the fence.
Thanks Phil we needed that and thank you for a posting which I was largely
able to agree with.
After being reprimanded by a Scotsman for something I hadn't said about
English farmworkers I did rather
With gapped scales: Will a tune with a missing seventh
be called ionian or mixolydian in the key+mode system?
Why should it be called either since it's not a heptatonic scale?
I suggested how we could deal with this years ago. There is no standard
for putting this in key signatures, but
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Jack Campin wrote -
I think you are underestimating the cultural sophistication of English
farmworkers by a VERY large margin. Nearly all of them went to church,
and for most of the areas Sharp, Lloyd and Vaughan Williams collected
in, that church was the Church of England. With a tradition of
Robert Bley-Vroman wrote -
Will major-scale tune with some flatted sevenths be transcribed with the
flatted
seventh as part of the key signature, or with the flatted sevenths
indicated as accidentals within the body of the tune?
Whichever you like as long as you specify all the notes
[EMAIL PROTECTED] wrote:
Robert Bley-Vroman wrote -
Will major-scale tune with some flatted sevenths be transcribed with the
flatted
seventh as part of the key signature, or with the flatted sevenths
indicated as accidentals within the body of the tune?
Whichever you like as long as
