At 11:40 AM 9/7/98 -0500, Jerome Colburn wrote:
>In some cases, though, the major-or-minor-with-accidentals approach
>really fits the tune better. "Red-Haired Boy" in particular starts out
>for three whole bars as an entirely conventional A-major melody, complete
>with contrasting emphasis on tonic A and dominant E, and then drops a G
>natural in. For tunes like that, setting the conventional major key
>signature and then using accidentals describes the feel of the tune more
>closely than using the simple two-sharp key signature.
Jerome, I don't find your example completely convincing. To me, "The
Redhaired Boy" is structured harmonically like a typical mixolydian tune,
with the cadence at the half part on the G major chord. The appearance of E
in the melody is not enough to suggest an E major chord (would be dominant
if in A major). The accented D in the second bar does suggest another chord
than G, D in fact which would be the IV chord in A major. But the insistance
on the G natural throughout is just too strong.
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