Quote:
Originally Posted by robinjessome
You misinterpret me. I'm certainly not afraid of them.
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I never accused you personnaly (sorry if it sounded that way), but there do seem to be a few people here and there that are blatently unaccoustomed to working with 'larger' key sigs.
Quote:
Originally Posted by robinjessome
I may have four measures of Eb dorian (derived from Db Major) but my next key may be C lydian (based on D Major). There's no sense in changing my key signature.
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Hmm... Maybe this is where I'm confused, are we talking practically atonal music here? I would have to say I'm sort of biased on that particular matter, I'm not all too fond of music with harmonic A.D.D., as I could never understand how one could change a key every measure or two (or three) and make the music
sound focused, but that's just me. But in passing, though, which is what I gather you are talking about, I totally agree with you, as I never stay in a constantly changing pace for too long, but when it does happen, I just leave the key signature in what it was before the devolpment commenced. What I was saying is I would never write without defining a base key to work with.
I happen to be quite fond of the different church modes by the way, esp. dorian, mixolydian, and sometimes phrygian.
