16:06
@ArmadilloBill I missed this message, I think I've worked out how to ping people now, let's see if this has worked!
While that's true, I'm talking about non-modulating music that nevertheless doesn't fit the classical major/minor paradigm
In those instances, it's often prudent to notate the music with a key signature that reflects the tonal centre, even in cases where a modal designation would be more appropriate
for example, imagine 2 songs in the key of G, one pop song that is fundamentally dorian in it's nature, with relatively few borrowings or modal mixture, and another than is fundamentally mixolydian, in the sense that there is not a B flat nor an F sharp to be found
in those cases, it may be more prudent to notate them as G minor and G major, with 2 flats and 1 sharp respectively, rather than notating them with 1 flat and no sharps/flats
as, while the second way is in a sense more accurate, people tend to "read into" key signatures as a reflection of the key centre of the piece, and so notating them as though they are in a simple major or minor key and adding accidentals (for the sixth and seventh degree respectively) is the more transparent way to write it
often classical theorists steeped in common practice music misinterpret the natural mixed-modality of pop music as a reflection of transient modulations or borrowings, but in a sense they are no more modulations than an E7 in the key of A minor is a modulation to A major
Discussion between Some_Guy and Tim
Discussion between Some_Guy and Tim