Re: Gis major key signature; Lily's key signature algorithm

[Blöchl Bernhard]

If you use equally tempered scale f♭ major is really identical with e 
major. (That is not true in just tempered tuning.) May be with my 
limited knowledge of music I misunderstood something?

Schwanengesang has 4 ♭s. Concerning to the circle of fifth that is f 
minor or a♭ major. That is not the same as f♭ major as mentioned in the 
original mail?

If one is doing functional harmony and stacking thirds, indeed f minor 
and a♭ major it is different, producing different chord progressions 
because starting with f or with a♭ major respectively. So the 
Schwanengaesang needs some investigation and harmonic analysis to make 
clear the used key, f minor and a♭ major. Skilled musicians (I am not) 
might do that.

If one is only playing the notes of the sheet is this really important?



Am 07.02.2018 22:18, schrieb Urs Liska:
> Am 07.02.2018 um 21:13 schrieb Blöchl Bernhard:
> > You mention f♭? Then you get a double ♭!
> > "
> > {\key fes \major c d e}
> >
> > You go better with
> >
> > {\key e \major c d e}
> >
> > That double crosses and double ♭s happen frequently if you transcripe 
> > music. in this cases it's better to use the circle of fifth/fourth, 
> > however you might call it.
>
> Wow, quite a bold statement, given that we have no clue about the
> historical context of the original poster's question.
> I'd always argue that depending on the style (actually most European
> music from the 18th until far into the 20th century) E major is worlds
> apart from Fes major (and with "worlds" I really mean heaven/earth,
> life/death, dream/reality, whatever you want).
>
> My favourite example is in Schubert's song Schwangesang D 744
> (http://imslp.org/wiki/Schwanengesang,_D.744_(Schubert,_Franz) ).
> The song is in a flat major, then turns to the darker mood of the
> variant a flat minor and its parallel c flat major (both six flats)
> and then reaches an absolute anticlimax on the word "auflösend"
> (meaning: life is dissolving) on the minor subdominant: a fes minor
> seventh chord (=> <fes' asas' ces'' eses''> in LilyPond language)!
> There's no way this could ever make sense in e minor.
> But what makes even *less* sense is the helpless rendering of the
> original edition: <fes g ces d> (the d even being "resolved" to des).
>
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