8/23/2023 0 Comments E flat natural minor key signature![]() So, sometimes people do not refer to a song by the key signature but rather by the note on which the song starts or of the mode being used. The first time that happened to me I transcribed up to E Dorian thinking that was the correct "Key", i.e. But when Jazz players call out So What at a jam session they will often say play it in D. In classical western music theory and tradition (as it has evolved to in this day and age) it is not wrong to say that songs are predominantly written using the major scale or minor (typically Melodic or Harmonic minor rather than natural minor). A classic example is So What by Miles Davis. What makes it recognizable as a dorian melody rather than a Major melody is the starting and ending notes of the phrases. On degree 7 of the Major scale - The Locrian modeįor example, if you write a melody in D dorian you are really in the key of C major and the sheet music would be written that way. On degree 6 of the Major scale - The Aeolian mode (or natural minor scale) On degree 5 of the Major scale - The Mixolydian mode On degree 4 of the Major scale - The Lydian mode On degree 3 of the Major scale - The Phrygian mode On degree 2 of the Major scale - The Dorian mode On degree 1 of the Major scale - The Ionian mode (or major scale) The seven modes are all related to the major scale but starting on different degrees. There is a relationship between the modes that you may be familiar with. My example of musical score serves to point out that a song can change key as often as the composer likes. You still have to digest new accidentals but if they come one at a time your brain will not comprehend an overall shift in key but when you see the key signature you "know" from years of training what group of accidentals come grouped together and for some instruments the change is just a matter of moving your hand to a new position. It's a matter of how the info is presented. In this case an overall key change is more helpful. In musical scores (scores for Broadway musicals), however, they key may change every few bars so it gets messy to keep digesting new accidentals. If the modulation is not going to last long I personally don't need to see the key change, it doesn't really help. This is not just in beginner exercises but in professional scores. In fact I have seen pieces written in the key of F or G major but the score shows C as the key. Some will opt to keep the key signature of the song the same and write in accidentals while others will opt to show a new key signature in the sheet music. Some composers will move the melody without changing key, but will change mode, while others may introduce accidentals in the melody to indicate a true key change from the original, starting on Do, to the key a 4th up, starting on Fa of the original key. A common pattern is to play a melody in the major scale of the key of a song then move it up to the 4th, Fa, of the same key. It is very common for music to modulate key. This does not mean that the song must stay in that key throughout. For example a song written in they key of C will have no accidentals, one written in A will have (F#, C#, G#) all indicated at the beginning. The key signature is indicated at the beginning of a piece on the sheet music. ![]() There is a lot of question wrapped into one here.
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